The organ and its masters; a short account of the most celebrated organists of former days, as well as some of the more prominent organ virtuosi of the present time, together with a brief sketch of the development of organ construction, organ music, and organ playing

ii

THE LIBRARY

OF

THE UNIVERSITY

OF CALIFORNIA

LOS ANGELES

MEREDITH WILLSON LIBRARY
STANLEY RING COLLECTION

f6*--

/?(?3

"Bhe Organ and
Its Mocsters

A Short Account of the Most Celebrated
Organists of Former Days^ as Well as
Some of the More Prominent Organ Virtuosi
of the Present Time^ Together with a Brief
Sketch of the Development of Organ Con-
struction^ Organ Music y and Organ Playing

»
^
^
»
*
^
^

^

By
HENRY C. LAHEE

Author of "Famous Singers," "Famous Pianists,"
** Famous Violinists," ** Grand Opera in America," etc.

Illustrated

»

^

BOSTON ^
L. C. PAGE &

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9£^ (p* %3^

COMPANY
MDCCCCIJI

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^^^^^^^^^^^^^^^.jp^^^^^^^^^^^j^^^^^^^^^^^^^^,

Copyright, igo2

By L. C. Page & Company
(incorporatbd)

All rights reserved

Published, September, 1902

ffolonfal IPtres

Eloctrotyped and Printed by C. H. SImonds & Co.

Boston, Mass., U. S. A.

Music
LibraiX

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l\-bcr
PREFACE ,c^oZ

This book is intended to fill, or partly fill, a
vacancy in musical literature, by gathering under one
cover a tolerably consecutive account of the noted
organists from the earliest times down to the pres-
ent day, and at the same time to keep in touch with
the development of organ-building and of organ-
playing.

As we come down to modern times, and especially
in the chapter on American organists, the task of
selection becomes more and more difficult. It is
obviously impossible within the limits of this volume
to mention more than a very small portion of those
who are excellent musicians, and it has been found
practicable to mention only a limited number of
those who have been most prominent as concert
organists.

The greater part of the biographical work has
been compiled from the most reliable books of refer-
ence, and much concerning the older organists has
been extracted from such authorities as Spitta, in
his life of Bach. The writer is also indebted for
much valuable assistance to Mr, Everett E. Truette
and to Mr, J. Wallace Goodrich, for matters pertain-
ing to more recent years.

1496770

CONTENTS

CHAPTER

PAGE

I. A Preliminary Account of Early Organs i

II. Early Continental Okganists ... 7

III. Early English Organists .... 28

IV. PuRCELL TO Handel 49

V. Johann Sebastian Bach .... 74

VI. The Contemporaries and Pupils of Bach 100

VII. English Organists of the Eighteenth

Century 121

VIII. Modern Continental Organists . .138

IX. English Organists 186

X. American Organists 239

XI. Organ - Building 300

LIST OF ILLUSTRATIONS

PAGE

JoHANN Sebastian Bach .... Frontispiece

GiROLAMO FrESCOBALDI 26

Henry Purcell 52

Georg Friedrich Handel 92

Johann Christian Heinrich Rinck . .112

Gustav Merkel » .152

Joseph Gabriel Rheinberger 156

Alexandre Guilmant . . . . • • i74
The Organ of St. Sulpice, Paris, France . .178

William Thomas Best 200

Console of the Organ in the Town Hall,

Sydney, N. S. W 208

The Brattle Organ 240

The Organ of the Music Hall, Cincinnati, O. . 243
The Organ of the Old Music Hall, Boston,

Mass 255

THE ORGAN AND ITS MASTERS

CHAPTER I.

A PRELIMINARY ACCOUNT OF EARLY ORGANS

It is hardly necessary to the purpose of this book,
to enter at length into the early history of the organ,
and to trace its evolution from the pan-pipe, bagpipe,
and instruments of such nature, most of which are
familiar objects at the present day.

The history of the organ properly begins at a
time when mechanical means for supplying the wind
were first used, and this date is far back in ancient
history.

Ctesibius, a native of Alexandria, is said to have
built a hydraulic organ (the wind being supplied by
water pressure), about the year 200 b. c, and instru-
ments of this description were in use for more than
one thousand years.

The pneumatic organ was also in use at a very
early period, and numerous references are to be found

2 THE ORGAN AND ITS MASTERS

in literature of various times from a. d. 363. By-
pneumatic organ is meant an organ to which the
wind is supplied by bellows, and it must not be con-
founded with the modern pneumatic action, which is,
of course, a very different matter.

The next point of general historical interest is the
time at which the organ was first used in public
religious services, and this is said to have been in
the time of Pope Vitalian I., about a. d. 666, though
there are indications that it was used in this manner
some two hundred years earlier, in the churches of
Spain.

The early records of the art of organ building
show that it was known in England at the commence-
ment of the eighth century, and commenced in
France about the middle of the same century.

Pepin, King of the Franks, the father of Charle-
magne, is said to have sent a deputation to the
Emperor Constantine, requesting him to send an
organ to France, and in a. d. 757 the request was
complied with, and the organ placed in the church of
St. Corneille, at Compiegne.

Organs are said to have been introduced into Ger-
many about A. D. 811, when Charlemagne had one
made at Aix-la-Chapelle, similar to that which was
at Compiegne, but what disposition was made of it
is not recorded.

Charlemagne's love for the organ seems to have

THE ORGAN AND ITS MASTERS 3

been noised abroad, for about a. d. 822 the Caliph
Haroun Alraschid presented to him an organ built
by an Arab named Giafur. There is also some
indication that Venice became noted for its organ
builders about this period.

During the succeeding century both the French
and Germans are supposed to have made rapid strides
in organ building, and to have surpassed the Italians.

Returning to England, — there are somewhat
detailed accounts of a great organ which was erected
in the old church at Winchester, and it is said that
the noise (or music) of this organ could be heard
throughout the town. This instrument was described
at length in a Latin poem by a monk named Wul-
stan, and it may here be remarked that for many
years the duty of operating the organ (it could hardly
yet be called playing) was an ecclesiastical function,
and was performed by the monks. This organ of
Winchester was worked by "two brethren of con-
cordant spirit," and the tone "reverberated and
echoed in every direction, so that no one was able to
draw near and hear the sound, but had to stop with
his hands his gaping ears," etc. The organ was not
yet a solo instrument, except in the sense that noth-
ing else could be heard while it was in operation.
The name "Bumbulum^" in use among the Anglo-
Saxons of this period (the tenth century), seems very
appropriate, for the tones of the organ could only

4 THE ORGAN AND ITS MASTERS

have been sustained, owing to the very crude method
of producing them, and the harmonies were such as
would strike eternal terror into the soul of the
modern churchgoer.

Up to this period the organ seems to have been
worked chiefly by means of shdes, which opened and
closed the wind passages to the pipes, but now the
keyboard appeared ; first in the form of levers, so
that the delicacy of touch and rapidity of action
might be compared to that of a switchman in a rail-
way signal box of modern times. The lever grad-
ually developed into the keyboard, of which the first
specimens contained from nine to eleven keys, each
from five to nine inches wide. These were struck
with the fists or elbows. An organ in the cathedral
at Magdeburg had sixteen keys. During the four-
teenth century keyboards grew, until the number of
keys reached about three octaves. More gentle
methods of playing were now possible, and fingers
were used instead of fists. An organ in the ca-
thedral at Halberstadt, built in 1359 0^ 1361, by
Nicholas Faber, had fourteen diatonic and eight
chromatic keys, and four claviers, of which one was
of pedals.

This organ had twenty bellows, requiring ten men
to supply the wind. Bellows have also undergone
some improvement since this period, when it was
customary for the blowers to operate directly upon

THE ORGAN AND ITS MASTERS 5

the bellows, which were fitted with a kind of shoe on
the upper edge. A long bar, breast high, gave sup-
port to the operators, who, holding on to it, placed
each foot in a shoe and " walked " the wind into the
organ.

Pedals are supposed to have been invented by one
Albert Van Os, about 11 20 a. d., but the invention
is also attributed to Ludwig Van Valbeke, of Brabant,
and again to a German named Bernhard, who probably
improved, but did not invent, the pedal.

This Albert Van Os built the organ of the St.
Nicholas Church, at Utrecht, and is the earliest organ-
builder of whom any authentic account exists. Fol-
lowing him there comes a long list of skilful builders,
each in his turn contributing something toward the
improvement and development of that which has be-
come the grandest of all instruments.

England, France, Italy, and the Netherlands all
had their organ - builders. Organ - building became
a regular profession or trade, and improvements fol-
lowed one another in rapid succession. According
to Doctor Burney, great organs and great organists
seem, for more than two centuries, to have been the
natural growth of Germany,

It is impossible, within the limits of this sketch,
to follow out all the mechanical improvements in
organs. Better organs made possible the skilful
organist, and he, in turn, developed new possibilities

6 THE ORGAN AND ITS MASTERS

in the organ. The ecclesiastical drudge was finally
emancipated from the operation of the organ, and
organ-playing became an art.

Crude as such an instrument as that played by
Bach appears to the organist of to-day, it was an im-
mense improvement over the old instrument, already
mentioned, at Winchester, of which the compass did
not exceed ten notes, and these were operated with
levers.

We shall not attempt to follow out these develop-
ments, which affect every portion of the instrument
as well as the organist, but begin at the time when
the organist had become a musician, and had an in-
strument in some degree worthy of his art.

CHAPTER II.

EARLY CONTINENTAL ORGANISTS

Perhaps the best point in history at which to be-
gin the account of early organists is at Jean Okeghem,
who, while not himself an organist, was the founder
of what is known as the second Flemish school of
composition. Okeghem was born about 1430, and
belonged to the college of singers in Antwerp Cathe-
dral, in 1443, a place which he gave up in the follow-
ing year to enter the service of the King of France.
He died about 15 13. His foremost pupils were
Josquin Depres and De La Rue, who carried his
art into other countries. Depres was, in turn, the
teacher of Benoit, Ducis, who became organist of
Notre Dame, at Antwerp, and a composer of much
merit.

Benedictus Ducis (or Hertoghs) was born at
Bruges about 1480. Concerning his history there is
little known, for he left Antwerp in 15 15, and from
that date there is no authentic account of him. It is
said that he went to England, and he is also said to
have gone to Germany ; he may have done both. His

7

8 THE ORGAN AND ITS MASTERS

connection with Antwerp was discovered in compar-
atively recent years, and proves that he was not a
German, as has been stated by some historians. His
value to us is that he is one of the very first organists
on record.

A long period elapsed between Ducis and Swee-
linck, who is recorded as the greatest of all Dutch
organists, and drew pupils from all parts of Europe.

Jan Pieterszoon Sweelinck was born at Deventer,
in 1562, or, according to some biographers, he was
born at Amsterdam, where his father was oro;anist of
the Old Church. Some few years after his father's
death Sweelinck was appointed to fill his place, and
remained organist of the Old Church until his own
death, in 162 1.

It has been related that Sweelinck went to Italy
and was, for a time, a pupil of the celebrated
Gabrieli ; but this is probably incorrect, as he is
known to have remained at Amsterdam from the age
of fifteen, and is hardly likely to have journeyed to
Italy previous to that age.

Sweelinck's organ-playing was for many years the
glory of Amsterdam, and when he died he was called
by the poet Vondel, "The Phoenix of Music." His
organ compositions are of great historical importance
inasmuch as they exhibit the first known example
of the independent use of the pedal, in a real fugal
part, and because Sweelinck originated the organ-

THE ORGAN AND ITS MASTERS 9

fugue, a form which was afterward brought to per-
fection by the great J. S. Bach.

While Sweehnck had a great many pupils of note,
the two who became most celebrated were Samuel
Scheldt and Heinrich Schiedemann.

The former was a native of Halle-on-Saale (1587-
1654), and became organist of the Moritz Kirche at
Halle. He is noteworthy as having been the first
to treat the working out of the choral artistically
and in true organ style.

Schiedemann was a native of Hamburg (1596-
1663), and became organist of the Katherinenkirche,
in which post he succeeded his father. In 16 16
Schiedemann and Prsetorius were sent, at public
expense, to Amsterdam, in order to study under
Sweelinck, and to be initiated into the higher style of
organ-playing. Schiedemann, as a composer, is said
to have had an agreeable, easy, and cheerful style
with no pretence or desire for mere show. None of
his organ compositions have survived.

When Schiedemann died his place was filled by
Johann Adam Reinken, who had been his assistant
for five years, and who was also a pupil of Sweelinck.
Reinken was a native of Deventer (1623-1722), but
died at Hamburg. Reinken was considered one of
the foremost organists of his day in North Germany,
and it is said that J. S. Bach walked from Luneburg
to Hamburg several times for the purpose of hearing

10 THE ORGAN AND ITS MASTERS

him. In fact J. S. Bach possessed a faculty for
walking long distances to hear fine organists which is
worthy of emulation in the present day. Reinken
was noted for his virtuosity, but his compositions are
defective in form and general construction.

We must now retrace our steps a few years, and
we find Christian Erbach, a native of Algesheim in
the Palatinate, who became organist to the celebrated
family of the Fuggers at Augsburg, about 1600.

Gregor Aichinger, also organist at Augsburg, was
born about 1565, and took holy orders. He was, for
two years, a pupil of Gabrieli, whose influence makes
itself manifest in Aichinger's compositions, which
bear marks of genius, and are among the best German
music of his time. He died in 1628. Aichinger's
" Cantiones Ecclesiasticae " is noteworthy as one
of the earliest works in which the basso continuo
appears.

The name Praetorius is conspicuous among early
organists and church composers in Germany. It
was a name assumed by several families, whose
German name was Schulz. Hieronymus Praetorius
— or Jerom Schulz — was born in 1560 at Ham-
burg, where he gained a great reputation as an
organist, and died in 1629.

His son Jacob, born at Hamburg in 1600, in-
herited the talent and confirmed the reputation of
Jerom, and died in 165 1.

THE ORGAN AND ITS MASTERS II

But the greatest of the Praetorius family was
Michael, a native of Creutzberg in Thuringia (1571),
and who became chapel-master at Luneburg, and
later was engaged as organist, chapel-master, and
secretary of the Duke of Brunswick. He died
at Wolfenbiittel on his fiftieth birthday. Michael
Praetorius is known to posterity chiefly by his
" Syntagma Musicum," a work which gives us an
insight into the technical history of a period lying
midway between the triumphs of the polyphonic
school, and the development of modern music. The
compositions of Michael Praetorius are voluminous
and valuable.

Other members of the family were Bartholomaeus,
and Johann. Of these the last named was no less
remarkable for his learning than for his musical
talent. He was born at Ouedlinburg in 1634, held
appointments at Jena, Gotha, and Halle, where he
produced an oratorio called "David" in 168 1, and
died in 1705.

Johann Hermann Schein, bom at Griinhain in
1586, was one of the pioneers of the new movement
in Germany. In 16 13 he was appointed chapel-master
at Weimar, a post which he held for two years,
when, on the death of Seth Calvisius, he became
cantor of the Thomas-Schule at Leipzig, where he
remained until his death in 1630.

Heinrich Schiitz, a native of Kostritz, Saxony

12 THE ORGAN AND ITS MASTERS

(1585), is pronounced the most influential German
composer of the seventeenth century in developing
and promoting good church music, and a worthy-
forerunner of Bach. By his serious endeavour to
unite the advantages of the polyphonic and the
monodic styles he prepared the way for the polyodic
style of Sebastian Bach. His " Sieben Worte " has
been considered as the germ of all the later Passion
music, uniting as it does the musical representa-
tion of the sacred narrative with the expression of
the reflections and feelings of the ideal Christian
community,

Schiitz was educated for the law, but had received
a good musical training as a chorister in the chapel
of the Landgraf Maurice of Hesse-Cassel. His
talent for music being conspicuous, the landgraf
offered to pay the expense of a period of study under
Gabrieli at Venice. From 1609 until the death of
Gabrieli in 16 12, Schiitz was his pupil. Schiitz
then returned to Germany, expecting to resume the
study of law, but became instead the organist of the
landgraf, his patron. In 161 5 he was appointed
chapel-master to the Elector of Saxony at Dresden,
and gave up all further thoughts of law study. This
office he held until his death in 1672, with the excep-
tion of a period of about six years (1635-1641) dur-
ing the Thirty Years' War, when he took refuge in
Denmark and Brunswick. Though Schiitz is known

THE ORGAN AND ITS MASTERS 1 3

by his sacred music, he wrote the best German
opera of his day, to a German version of Rinuccini's
"Daphne," after which (1627) he confined his atten-
tion to church music.

The oldest example of German oratorio that has
been preserved to us is " Die Auferstehung Christi "
of Schiitz, produced at Dresden in 1623. On his
appointment to Dresden Schiitz at once began to
reorganise the music on the Italian model, and not
only procured good Italian instruments and musi-
cians, but sent some of the members of the chapel
choir to Italy to study the Italian style of playing and
singing. During a second visit of Schiitz to Italy,
in 1629, he found great changes in musical taste,
a greater prominence being given to solo singing,
greater intensity, the freer use of dissonances, and
greater richness and variety in accompaniments, all
of which bore fruit in his later compositions.

Notwithstanding the authority wielded by Schiitz,
his life as chapel-master was not without its burdens
and trials. He made many personal sacrifices in the
cause of his art, even to paying or increasing out of
his own pocket the stipends of some of his musi-
cians, but even this generosity brought upon him so
many annoyances that he became disgusted with the
idea of further cultivating music in Dresden. This
condition began about 1647 and developed to such
an extent that between 165 i and 1655 he repeatedly

14 '^HE ORGAN AND ITS MASTERS

bessred for his dismissal from the service of the
elector. He was frequently involved in differences
with his Italian colleagues, who were endeavouring to
popularise music and take from it the seriousness nec-
essary to highest art. The elector refused to accept
the resignation of Schijtz. Eventually affairs im-
proved, and he continued at his post during the
remaining years of his life. When in his later years
he suffered from deafness and was unable any longer
to go out, he spent his time in reading the Scrip-
tures and books of a spiritual nature. His last
attempt at composition was the setting to music of
portions of the 109th Psalm, and when death over-
took him he was engaged upon the verse "Thy
statutes have been my songs in the house of my
pilgrimage," than which nothing could have been
more fittingly chosen as the motto of his life and his
art work. The year of the birth of Schiitz was
exactly one hundred years before that of Handel and
Bach, who brought to perfection the forms which he
originated.

Contemporary with Schiitz lived Johann Jacob
Froberger (1605 .''- 1667), a native of Halle accord-
inof to the most authentic accounts. Details of the
life of Froberger are rather meagre, considering his
eminence as an organist and composer. It is said
that the Swedish ambassador, passing through Halle,
heard Froberger sing, and being impressed with the

THE ORGAN AND ITS MASTERS 1 5

beauty of his voice, induced the young chorister to
accompany him to Vienna, where a place was found
for him in the imperial choir.

In 1637 Froberger was court organist at Vienna,
and in that year he received the sum of two hundred
florins to enable him to go to Italy and study under
Frescobaldi, whose pupil he was for four years. In
1 64 1 he returned to his post at Vienna, which he
occupied during the next four years. After that
there is a hiatus in his biographies, and it is to be
assumed that he was either travelling or studying ;
but he returned to Vienna and to his old post again
in 1653 for another period of four years.

In 1657 Froberger left the service of the emperor
and began to make concert tours, during which he
visited both Paris and London. The latter city he
reached in 1662 in a woful plight. He had been
robbed twice on his journey and was in a destitute
condition, so that he gladly accepted employment as
an organ-blower at Westminster Abbey, where Gib-
bons was organist. His rise to prosperity is almost
Hke a fairy tale. On the occasion of the marriage
of King Charles II., Christopher Gibbons was playing
before the court, when Froberger overblew the
organ, for which inattention he was severely repri-
manded by the indignant organist. A few minutes
later (perhaps while Gibbons was readjusting himself
after the exertion of the reprimand) Froberger found

1 6 THE ORGAN AND ITS MASTERS

an opportunity to seat himself at the organ and
improvise in the style of which he was a master.
A foreign lady, who was present and who had
been a pupil, immediately recognised the touch
and style of her former teacher, and presented him
to the king, who received him graciously. Prosperity
ensued.

The last years of Froberger's life were spent in
the service of the Duchess of Wurtemberg at her
chateau near Hericourt, France, and it was there
that he died in 1667.

Among Froberger's compositions were several for
the organ, and Sebastian Bach is said to have secured
copies of some of them and made a study of them
when he was yet very young. Froberger is said to
have possessed a marvellous power of describing, or
picturing in music, all kinds of incidents and ideas,
but nothing exists which gives any support to this
statement.

Johann Kaspar Kerl was a celebrated organist of
Munich, born in 1628. Kerl was a native of Gai-
mersheim, near Ingolstadt, and became a pupil of Val-
entini at Vienna, by whose advice the Emperor
Ferdinand III. sent him to Rome to study under
Carissimi. It is supposed also that he took lessons
of Frescobaldi. Kerl returned to Germany and en-
tered the service of the Elector of Bavaria in 1656,
and officiated at the coronation of Leopold I. at

THE ORGAN AND ITS MASTERS 1/

Frankfort, from which event his reputation as an
organist dates. He remained at Munich fifteen
years, and then went to Vienna, where he remained
for several years, returning, however, to Munich,
where he died in 1693.

Of Kerl's compositions, one, a canzona for organ,
is transmitted to us through the medium of Handel,
who appropriated it entire for his oratorio " Israel in
Egypt," in which it appears, merely transposed from
the key of D minor to E minor, as the chorus
** Egypt was glad."

Kerl shared, with many other German organists, a
dislike for Italian singers, and it is related that once
upon a time, in order to revenge himself on them, he
wrote his " Missa Nigra " entirely on black notes ;
also a duet, " O bone Jesu," the only accompaniment
of which is a ground bass passing through all the
keys. These works were given at the last perform-
ance under his direction, and were so difficult that
the singers were horribly false all through and cov-
ered themselves with ridicule.

Kerl's style is remarkable for the frequent intro-
duction of discords resolved in a new and unexpected
manner, in which respect he is considered a worthy
predecessor of Sebastian Bach.

Johann Joseph Fux stands out from amongst the
musicians of his time as one of the most important
theoreticians in the history of music. Born in 1660

1 8 THE ORGAN AND ITS MASTERS

at Hirtenfeld, near Gratz, he was the son of a peas-
ant, and nothing more than this fact is recorded of
his early days.

At the age of thirty-six he received an appointment
as organist at Vienna to an ecclesiastical order, " Zu
den Schotten," and in 1705 he became chapel-master
at the Cathedral of St. Stephen. In 17 13 he was
appointed chapel-master to the Dowager Empress
Wilhelmine Amalie, and became vice-chapel-master,
and afterward head chapel-master to the court. Fux
as a man is said to have had the esteem of all his
acquaintances, for he was kind and just in his deal-
ings. He received many proofs of court favour.
Some four hundred and five of his works are still in
existence, though but few of them are printed. His
" Musa Canonica," which was dedicated to the em-
peror, is unique in its way. It contains every species
of canon, and displays his marvellous knowledge of
counterpoint, combined with the richest modulation.
Marpurg speaks of the double canon in the " Christe
eleison " in these words : " The harmony is gorgeous,
and at the same time thoroughly in keeping with the
sacredness of the occasion."

Fux had numerous pupils who rose to places of
distinction, but his name as an educator will always
be most celebrated through his " Gradus ad Par-
nassum," a work which must not be confounded
with that of Clementi, which is familiar to all piano-

THE ORGAN^ AND ITS MASTERS 1 9

forte students. Concerning this work Mr. Rockstro
writes : " When the Une of polyphonic composers
came to an end, the verbal treatises, no longer illus-
trated by their living examples, lost so much of their
value, that the rules were in danger of serious mis-
construction, and would probably have been to a
great extent forgotten, had not Fux, in his " Gradus
ad Parnassum," pubHshed at Vienna in 1725, set
them forth with a systematic clearness, which, ex-
hausting the subject, left nothing more to be desired.
This invaluable treatise, founded entirely on the
practice of the great masters, played so important a
part in the education of the three greatest compo-
'sers of the school of Vienna, Haydn, Mozart, and
Beethoven, that it is impossible to over-estimate its
influence upon their method of part-writing. So
clear are its examples, and so reasonable its argu-
ments, that it has formed the basis of all the best
treatises of later date."

One little anecdote may be allowed about Fux, as
illustrating the high opinion in which he held his
profession. It is related that Carl VI. once played
the accompaniment of an opera by Fux, and accom-
plished his task with such skill that the composer
exclaimed " Bravo ! Your Majesty might serve any-
where as chief chapel-master." " Not so fast, my
dear chief chapel-master," the emperor replied ; "we
are better off as we are ! "

20 THE ORGAN AA'D ITS MASTERS

Fux held his office under three successive em-
perors, and died at Vienna in 1741.

Among continental organists previous to J. S. Bach,
no name is more prominent than that of Dietrich
Buxtehude, a native of Helsingfors, Denmark (1637).
Buxtehude's father was organist of the Olai-church,
and probably bestowed upon his son the early educa-
tion which enabled him to reach such a prominent
position. The accounts of his early life are very
meagre, and much is therefore left to conjecture.
The admirable playing of young Buxtehude, and his
great promise, enabled him to secure, in 1668, the
post of organist at the Marien-church, Liibeck, which
was one of the most desirable in Germany, partly, no
doubt, because the new organist was required to
marry the daughter of the old one, and was thus
saved the time and perplexity of courtship. Here
he became the great musical centre of the north of
Europe, and young musicians gathered from afar to
hear him play and to study under him. Amongst
these were young Sebastian Bach, who came fifty
miles on foot to spend a month's leave of absence
under the influence of the greatest teacher of the
day, and who, oblivious of the flight of time, remained
three months.

Buxtehude made himself famous by establishing, in
1673, the " Abendmusiken," or evening performances,
which took place on the five Sundays preceding

THE ORGAN AND ITS MASTERS 21

Christmas. These services began between four and
five o'clock in the afternoon, and consisted of con-
certed pieces of sacred music for orchestra and chorus,
and of organ performances. They were well sup-
ported by the people of Liibeck, who took much
pride in them, and they continued throughout the
eighteenth and into the nineteenth century.

The organ at Liibeck was one of the finest in
existence at that time. It had been built about 1 5 1 6,
when it contained two manuals, from D to A above
the staff, and a separate pedal down to C. The latter
had a great "principal" of thirty-two feet, and a
second one of sixteen feet. A third manual was
afterward added, in 1560 and 1561, and many other
alterations and improvements were made before the
beginning of the eighteenth century. When Buxte-
hude was at the zenith of his career the instrument
contained three manuals and pedal keyboard, and
fifty-seven stops — altogether a very fine instrument.

The technique of the organ had already reached
such a point of development by the time of Buxte-
hude's full power, and largely by his agency, that it
cannot be said that Bach had to open entirely new
paths.

Buxtehude's compositions, though seldom used at
the present day, are remarkable as the earliest asser-
tion of the principle of pure instrumental music,
which was further developed by his great pupil,

22 THE ORGAN AND ITS MASTERS

Sebastian Bach. There are twenty-four organ pieces
rich aUke in matter and extent. His strength lay in
free organ compositions.

Biixtehude died at the age of seventy, and while
he is said to have been excelled in playing by some
and in composition by others, yet the position which
he gained and filled with such success gave him the
opportunity to display his energy and talent, and thus
to become the musical centre of Northern Europe.

The most important of Buxtehude's pupils was
Nikolaus Bruhns, who was also an excellent violinist,
born in 1665 at Schwabstadt, m Schleswig. Buxte-
hude procured him occupation for many years at
Copenhagen till he became organist at Husum, where
he died in 1697, in his prime. Others who rose to
eminence were David Erich, organist at Gastrow,
and George Dietrich Lieding, of Biicken, near Hoya,
who, like Bach, made a pilgrimage, in 1684, from
Brunswick to Hamburg and Liibeck to derive in-
struction from the playing of Reinken and Buxte-
hude.

We must now go back once more to earlier days
and see what was being done in Italy and France,
for many of the best organists of other countries, as
we have already noticed, went to Italy to study.

In the ninth century the Germans had acquired
such skill as organ builders that they were called upon
to supply Italy not only with instruments but with

THE ORGAN AND ITS MASTERS 23

skilled players. Again, in the fourteenth century, an
organ, built in Germany, was erected in the church
of St. Raphael in Venice. Thus we find that the
early Italian organists were Germans. Bernhard,
who was organist of St. Mark's at Venice from
1445 to 1459, the year of his death, is credited by
some historians with the invention of the pedal, but
in all probability Bernhard simply introduced the
pedal into Italy.

The first great Italian organist, of whom there is
any account, was Andrea Gabrieli, born about 15 10,
at Venice, and he became a pupil of Adrian Willaert.

Willaert was born in Flanders about 1480, proba-
bly at Bruges. He was educated for the law, and
went to Paris to study, but became more interested
in music than in legal matters. Willaert seems to
have been a somewhat restless youth, for on return-
ing to Flanders from Paris he remained only a short
time, and then set forth on a journey to Italy. He
visited Venice, Rome, and Ferrara, then proceeded
northwards again, and became cantor to King Lewis
of Bavaria and Hungary. In December, 1527, he
was appointed chapel-master of St. Mark's, Venice,
where he remained until his death in 1562.

Willaert is called the founder of the Venetian
school of musicians, and had many pupils who
became famous, for he drew about him the most
promising talent of the day. He was a prolific com-

24 THE ORGAN AND ITS MASTERS

poser, and had two organs and two choirs at St.
Mark's, which fact led to the invention of double
choruses. One of his compositions which was spe-
cially admired, was a Magnificat for three choirs.
He is also considered to have been the father of the
madrigal.

Thus while Willaert was one of the Flemish
school, which was at its best in his day, he became
the founder of an Italian school, which also produced
some admirable musicians.

Of these pupils Andrea Gabrieli, already men-
tioned, became the most famous. His reputation
spread throughout Europe, and brought to him as
pupils such men as Leo Hassler. Gabrieli entered
the choir of the doge at the age of twenty-six, and
twenty years later he became second organist of St.
Mark's, when, on the death of Willaert, Claudio
Merulo was appointed first organist. An account
says that, at the time of his death, he was first
organist, but we are also told that, on the resigna-
tion of Merulo, in 1585, Giovanni Gabrieli, the
nephew of Andrea, was appointed first organist.

Andrea Gabrieli is said to have composed the first
real fugues, but his nephew showed great proficiency
in this style of composition, and brought it to a
greater state of perfection,

Giovanni Gabrieli was born in 1557, and became
even more celebrated than his uncle. Among his

THE ORGAN AND ITS MASTERS 2$

most celebrated pupils were Heinrich Schiitz, Aloys
Grani, and Michael Praetorius. Giovanni held the
post of first organist at St. Mark's until his death in
1612 (his uncle died in 1586, the year following Gio-
vanni's appointment), and was succeeded by Gianpolo
Savii.

Claudio Merulo was noted for the wonderful power
of his playing at a time when Venice was the Mecca
of musicians. Born at Correggio, in 1533, he re-
ceived an excellent education, and in 1566 was
appointed organist at Brescia. In the following
year, he was the successful one of nine candidates
for the position of second organist at St. Mark's,
Venice, where he was associated with, and became
a pupil of Willaert. It seems somewhat curious that
both Andrea Gabrieli and Claudio Merulo should
have held the same position (second organist) for
so many years simultaneously. Probably one of
them held some other position of a similar nature.

In 1585 Merulo resigned his position and went to
Mantua, and then, in the following year, to Parma,
where he became organist of the duke's chapel, a
position which he held until his death in 1604.

Of his compositions. Sir W. Sterndale Bennett
writes : " They compare favourably with other
works of the period. As historical examples they
are also valuable. In them we have classical instru-
mental music quite distinct from vocal ; we have

26 THE ORGAN AND ITS MASTERS

again chord — as distinct from part — writing, the
greatest result the organists had achieved, and the
ultimate death-blow to the modal system. Claudio
lived close on the borders of the new tonality. In
his compositions he does not abandon himself to it,
but he no doubt went much farther in his playing
than on paper, and had he lived a few years longer,
Frescobaldi's bold and apparently sudden adoption
of the tonal system would not, perhaps, have come
upon him unawares."

Girolamo Frescobaldi is called the most distin-
guished organist of the seventeenth century. His
compositions are important, and he was the first
(excepting, perhaps, Samuel Scheldt, the German
organist) to play tonal fugues on the organ.

Frescobaldi was born at Ferrara in 1583, and
studied music under Luzzasco Luzzaschi, organist of
the cathedral. In 1608 he was in Antwerp, but
returned quickly to Italy, and was appointed organist
of St. Peter's at Rome, which post he held for
twenty years. Dissatisfied with his lot in Rome, he
went to Florence on the invitation of Ferdinand II.,
Grand Duke of Tuscany, to whom he was appointed
organist.

Five years later social and political disturbances
caused him to return to Rome, where he was rein-
stated at St. Peter's, and remained until 1643. He
died in the following year.

GIROLAMO FRESCOBALDI

THE ORGAN AND ITS MASTERS 2/

It is related that Frescobaldi's first performance
at St. Peter's drew together an audience of thirty
thousand people, for his reputation both as a singer
and an organist was great even in his youth.

Pietro Francesco Cavalli, whose real name was
Caletti-Bruno, was organist of St. Marks, Venice,
from 1640 until 1668. He was born at Crema
about 1599. Cavalli is remarkable amongst early
organists, inasmuch as he grew rich, and enjoyed the
esteem and affection of his fellow-citizens. He was
noted for his compositions as well as for his playing,
but he wrote chiefly for the theatre. Of his church
music but little is known.

CHAPTER III.

EARLY ENGLISH ORGANISTS

The first record known to exist that gives any
particulars as to the cost of building an organ in
England, is to be found under the date 1407, in the
accounts of the precentor of Ely Cathedral, but not
until 1 5 19 is there any specification of an organ
recorded. This was of the organ at All Hallows,
Barking, near London, which was built by Anthony
Duddington. John Redford, organist, almoner, and
master of the choristers of St. Paul's Cathedral, is
one of the earliest organists of whom there is any
account. He lived from 1491 to 1547.

About the year 1 500 we have John Taverner and
Christopher Tye. Taverner was organist of Boston,
in Lincolnshire, but about 1500 moved to Oxford,
where he became organist of Christ Church, then
known as Cardinal College. Taverner lived in dan-
gerous times, and was once imprisoned, together
with a number of his friends, for concealing some
heretical books. The place of their imprisonment
was a deep cave under the college, used for the pur-

28

THE ORGAN AND ITS MASTERS 29

pose of Storing salt fish. Some of the unfortunate
heretics died from the stench of the fish, and those
who survived this ordeal were burnt at the stake.
Taverner, however, was released, as he was "only
a musician," and perhaps because his services in
that capacity were needed. He died at Boston
(England).

Christopher Tye was a native of Westminster, be-
came a chorister, and afterward a gentleman of the
Chapel Royal, took his degree of Bachelor of Music
at Cambridge in 1536, and was appointed organist
of Ely Cathedral, which post he held until 1562.
He took the degree of Doctor of Music at Cam-
bridge in 1545, and at Oxford three years later.

Doctor Tye was music-master to Prince Edward,
and did much to restore church music. He is said
to have been "a peevish and humoursome man," and
to have rebuked Queen Elizabeth when she found
fault with his playing. Doctor Tye also translated
into metre and set to music the first fourteen chap-
ters of the "Acts of the Apostles," and published
them under a title which, containing eighty-two words,
is too long for repetition in these pages. He died
about 1580.

Mr. William A. Barrett, in his book on English
church composers, states that Archbishop Cranmer
was the first who arranged the translation of the
litany to a chant. It was first sung in English in

30 THE ORGAN AND ITS MASTERS

St. Paul's Cathedral on September i8, 1547, the
priests and clerks all kneeling, and Cranmer's adap-
tation being used. This was the first occasion on
which any portion of the liturgy was publicly per-
formed in the vulgar tongue, and from this day com-
mences the history of English church composers.
While this statement may seem irrelevant in a book
on organists, yet in view of the fact that the
greatest composers of English church music have
generally been organists, the matter bears an im-
portant relation to our subject, and we are led by it
into a new period, of which the pioneer was Thomas
Tallys.

Before the Reformation it was customary for the
organ to be played by some ecclesiastic, yet Tallys
held the position of organist at Waltham Abbey
when, in 1540, the last abbot surrendered to Henry
VIII., — and Tallys was a layman.

The date and place of the birth of Tallys are not
known, but 1 520 is considered approximate. Tallys
was a pupil of Thomas Mulliner, and a chorister of St.
Paul's Cathedral in the days of his youth. When his
voice broke he was probably appointed organist at Wal-
tham Abbey, and on being dismissed from that place
he became a gentleman of the Chapel Royal. He is
said to have been appointed organist of that chapel
in the reign of Queen Elizabeth, but he served there
under Henry VHL, Edward VI., Queen Mary, and

THE ORGAN AND ITS MASTERS 3 I

Elizabeth. He was at Greenwich in attendance upon
Queen Elizabeth when he was overtaken by death in
1585.

Tallys is called the father of English church
music, and he devoted his talents entirely to that
branch of art. The character of his music is solemn,
stately, and dignified, and his work for the use of the
Church remains unimpaired for utility and solemnity.
His memory is best maintained by the harmonies
which he added to the plain-song of ancient use in
the Church. The world has not seen many more
accomplished contrapuntists than Tallys. One of
his most remarkable compositions is a motet for
forty voices, disposed into eight distinct five-part
choirs, which sometimes answer each other antiph-
onally, and sometimes sing together in a vast " quad-
ragesimal harmony." It is a genuine example of
forty-part counterpoint.

Tallys was a man of much energy, and, not con-
tent with composition alone, secured, in 1576, to-
gether with William Byrd, his pupil, letters patent
giving them the exclusive right of printing ruled
music paper for twenty-one years, a monopoly by
which Byrd profited more than Tallys, as the latter
died a few years after the privilege was secured.

Tallys was married, but had no children. This
fact, together with his many virtues, was set forth in
verse in his epitaph, which, being curious, is worth

32 THE ORGAN AND ITS MASTERS

quotation, but being long, the first and last verses
only must suffice :

" Enterred here doth ly a worthy wight,

Who for a long tyme in musick bore the bell ;
His name to shew was Thomas Tallys hight,
In honest, vertuous lyff he dyd excell.

" As he dyd lyve, so also dyd he dy,

In myld and quyet sort, O happy man,
To God ful oft for mercy dyd he cry,

Wherefore he lyves, let Deth do what he can."

Contemporary with Tallys was Richard Farrant,
organist of St. George's Chapel, Windsor. He was
one of the first musicians whose works, still in use,
were written to English words.

Farrant was succeeded at Windsor by John Mundy,
who held the place for fifteen years, and was suc-
ceeded by Doctor Nathaniel Gyles in 1595, two
musicians of no particular genius.

William Byrd, a pupil of Tallys, and his partner in
the music-printing business, was born about 1538.
He was organist of Lincoln Cathedral from 1563 to
1569, and was then appointed one of the gentlemen
of the Chapel Royal. Byrd is known as a composer
rather than as an organist, and most of his works are
secular, with which we have nothing to do here.
Some of his anthems are still in use, and he is sup-
posed to have been the writer of the well-known

THE ORGAN AND ITS MASTERS 33

canon "Non Nobis Domine," which is preserved in
the Vatican in "golden notes."

Byrd Hved to a good old age, dying in 1623. He
was married, had several children, and was highly
respected. He did not entirely escape the re-
ligious troubles of his day, for at one time he was
suspected of Popish inclinations, — a most desperate
crime.

John Morley, who was organist of St. Paul's Ca-
thedral, contributed much to the musical literature
of his age, but little of his church music remains.
His " Plaine and Easie Introduction to Practicall
Musicke," dated in 1597, was the first work of the
kind published in England. It went through many
editions and was translated into German.

Morley was born about 1564, and was educated
under Byrd at St. Paul's. In 1592 he became a
gentleman of the Chapel Royal, but died in
1604.

John Bull, born in Somersetshire in 1563, was one
of the best organists of his day. He was educated
in Queen Elizabeth's chapel, under William Blithe-
man, also an excellent organist but one whose bi-
ography is unknown. Bull became organist of
Hereford Cathedral in 1582, and in the following
year was admitted a member of the Chapel Royal,
where he became organist upon the death of Blithe-
man, in 1 591. He took his degree of Bachelor of

34 THE ORGAN AND ITS MASTERS

Music at Cambridge in 1586 and as Doctor in 1592,
also at Oxford in the same year.

Doctor Bull was the first professor of music ap-
pointed at the newly founded Gresham College,
where he was required to deliver a " solemn music
lecture twice every week." He was the only pro-
fessor in the college who was allowed to lecture in
English, and this concession was wisely made be-
cause he was unable to lecture in Latin after the
custom of the times in institutions of advanced
learning.

In 1 60 1 Doctor Bull went abroad for the benefit
of his health, and travelled incognito upon the Conti-
nent. That his reputation must have been great is
demonstrated by the following anecdote — if true.
Doctor Bull visited St. Omer's, where lived a cele-
brated musician, who showed him a song of his own
composition, of forty parts, and challenged any one to
add another part to it. Doctor Bull being, at his own
request, left alone with the score, added forty more
parts. The great musician, on examining the work,
burst into an ecstasy and declared that his visitor
must be either Doctor Bull or the devil.

Bull returned to England at the command of
Queen Elizabeth, and at her death retained his posi-
tion as organist of the Chapel Royal.

It is related that when King James I. and Prince
Henry dined at the Merchant Taylor's Hall, " Bull,

THE ORGAN AND ITS MASTERS 35

being in a citizen's gowne, cappe, and hood, played
most excellent melodic uppon a small payre of organs,
placed there for that purpose onley."

In 1607 Bull married Elizabeth Walter, of the
Strand, and resigned his professorship at Gresham
College, which was tenable only as long as he was a
bachelor. He went abroad again in 161 3, apparently
because he was dissatisfied with the condition of
music in England. He became organist of Notre
Dame Cathedral in Antwerp in 16 17, died in that
city in 1628, and was buried in the cathedral.

Notwithstanding Bull's eminence as an organist
and composer, very few of his works are printed. Of
these, two anthems, "Deliver Me, O God," and "O
Lord My God," are printed in Boyce's collection of
cathedral music, and some few other anthems, etc.,
are in existence. The Sacred Harmonic Society
possesses a manuscript collection of organ music
which contains several pieces by Doctor Bull, and
these are almost the first compositions for the organ
only of which we have any account. Most of his
other compositions were secular. His influence over
his contemporaries and successors was large. His
vocal pieces are full of the dignity and solemnity
proper to their purpose, and his instrumental pieces
for organ, virginals, or viol, his canons and fancies,
exhibit great freedom and ideality. Bull was the
first who attempted to employ modulations, and

36 THE ORGAN AND ITS MASTERS

though some of his examples are not satisfactory,
they show his desire to depart from the estabUshed
modes of his predecessors. In this respect he may
be regarded as one of the pioneers in the extension
of thought in music, which led in later times to
greater results.

William Inglott, born 1554, was distinguished for
his skill as a performer on the organ and virginals.
He was organist of Norwich Cathedral, and died in
1621.

Elway Bevin, a pupil of Tallys, was organist of
Bristol in 1589, and was afterward a gentleman of
the Chapel Royal. His most eminent pupil was
William Childe, organist of St. George's Chapel,
Windsor. Bevin published a book on the construc-
tion of canons, which was as plain and simple as such
a work could be, and which seems to have displeased
his fellow musicians, as it exposed one of the mys-
teries of their profession.

One of the greatest names in the history of Eng-
lish church music is that of Orlando Gibbons, who
was born at Cambridge in 1583. He was one of the
finest organists and composers of his time, and one
of the greatest musical geniuses of his country. He
was the youngest son of three. The Rev. Edward
Gibbons, the eldest of the three brothers, was organist
of Bristol Cathedral and priest-vicar in 1592, and
organist and custos of the college of priest-vicars in

THE ORGAN AND ITS MASTERS 'i^'J

Exeter Cathedral in 1611, retaining these ofifices
until 1644, when the organ and choir were abolished
by Oliver Cromwell. For advancing money to King
Charles I. during the civil war his property was con-
fiscated and he was turned out of his house, when
eighty years of age.

Elhs Gibbons, the second brother, was organist of
Salisbury Cathedral at the end of the sixteenth cen-
tury, but no record of his life or death is known to
exist.

Orlando Gibbons was admitted to the post of
organist of the Chapel Royal in 1604, and in 1623
became organist of St. Paul's Cathedral. His death
in 1625 was caused by smallpox contracted during a
visit to Canterbury, to which place he was called in
order to attend the marriage of Charles I. For this
occasion Gibbons had composed an ode and some
instrumental music. Thus Gibbons, like many of the
brightest musical lights, was extinguished at a com-
paratively early age.

Gibbons was the last of what is known as the
Early School of English church composers, to which
school belonged Tallys, Byrd, and others, but by no
composer was the dignity of the school more nobly
maintained. In imagination, fancy, scientific knowl-
edge, and in his power of concentration, he may be
considered the musical Shakespeare of his age. His
works possess so much truth in expression that they

38 THE ORGAN AND ITS MASTERS

still retain the power of pleasing and elevating the
mind, and have earned for him the title of "The
English Palestrina." Many of his anthems, also his
services in F and D, were published in Boyce's " Cele-
brated Music," and an excellent collection was pub-
lished by Sir F. Ouseley in 1873, containing some
thirty-four separate works. His anthem " O Clap
Your Hands," which is said to have been his exer-
cise for the degree of Doctor of Music, is frequently
to be heard at the present day, having retained its
virtue during nearly three centuries.

Gibbons left six children, of whom two were sons,
Christopher Gibbons and Orlando, and both became
musicians, though they did not equal the genius of
their father. In fact only Christopher became promi-
nent. He was educated at Exeter Cathedral under
his uncle Edward, and became organist of Winchester
Cathedral. This appointment he forfeited in 1644
when he joined the royalist army, and he is said to
have been the bearer of the money (one thousand
pounds) which his uncle lent to the king.

In 1660 Christopher Gibbons, who had shown so
much loyalty to the king, was appointed organist of
the Chapel Royal, private organist to Charles II., and
organist of Westminster Abbey. He was the or-
ganist who is said to have expressed in forcible
terms his disapproval of Froberger's talent as organ-
blower. He died in 1676 and was buried in the

THE ORGAN AND ITS MASTERS 39

cloisters of Westminster Abbey. Although some of
his anthems are still extant, he excelled more as a
performer than as a composer.

John Amner, who was contemporary with Orlando
Gibbons, was organist of Ely Cathedral, where he
succeeded George Barcroft in i6io, and remained
until his death in 1641. He composed much church
music, of which some portion is preserved in the
books at Ely.

Adrian Batten, the date of whose birth is un-
known, was brought up in the choir of Winchester
Cathedral, and in 161 4 became vicar-choral of West-
minster Abbey. In 1624 he became vicar-choral and
organist of St. Paul's Cathedral. He left considera-
ble church music, of which some is still in use.

WilHam Childe, a native of Bristol (1605), grad-
uated Bachelor of Music at Oxford in 1631, and
became organist and master of the children at St.
George's Chapel, Windsor, in 1632, succeeding John
Mundy. Several of his services and anthems are
printed in the collections of Boyce and Arnold, and
Tudway. Without any great depth of science or
elevation of genius, his works possess a great degree
of warmth, and exhibit imagination. Doctor Childe
was noted for his acts of beneficence, and at his own
expense he repaved the body of the choir of St.
George's Chapel. This was done on condition that
the dean and chapter pay him the amount of salary

40 THE ORGAN AND ITS MASTERS

due to him, which had fallen very much in arrears.
Doctor Childe died at the age of ninety-one, and was
buried in St. George's Chapel, where a tablet to his
memory remains.

During Childe's tenure of office an organ was
erected in St. George's Chapel by Ralph Dallam.
This organ contained one manual and 523 pipes, but
had novelties in the way of compound and trumpet
stops, and mechanical arrangements for obtaining
variety of effect.

A year or so earlier Bernhard Schmidt (generally
known as Father Smith), who had just arrived in
England, built a three-manual organ for the ban-
queting-room at Whitehall. This organ had one
thousand and eight pipes and nineteen stops, and
although it did not in all respects come up to ex-
pectations, yet it created a favourable impression.

An organ built for Exeter Cathedral in 1666 con-
tained two manuals, fifteen stops, and one thousand
and eighty-four pipes, while the organ erected in the
Temple Church, London, in 1682-84, by Schmidt,
contained three manuals, twenty-three stops, and
seventeen hundred and fifteen pipes.

These organs, it will be noticed, were built after
the civil war. During the period of this strife, from
about 1 64 1 to 1660, a severe blow was administered
to the cause of music in England. It was the period
of the Puritans, and Oliver Cromwell, with his armies,

THE ORGAN AND ITS MASTERS 4 1

devastated the cathedrals and churches, destroying
organs, and music, and scattering the choirs and
musicians. Sad indeed are the anecdotes told of the
wanton destruction of the organs, which were con-
sidered to be weapons of the devil. Organ pipes
were torn down and pawned for ale (with which of
course the devil had nothing to do), valuable books
were torn in pieces and the fragments scattered to
the winds, much music of historical value being thus
destroyed and lost. Barnard's collection of church
music, for instance, suffered to such an extent that
no perfect copy of it is known to be in existence.
This collection, compiled by the Rev. John Barnard,
was printed in 1641, just before the troubles broke
out.

In 1644 an ordinance was passed " for the further
demolishing of monuments of Idolatry and Super-
stition." This was the second ordinance of the kind,
and in it the destruction of organs was enjoined.
Among the organs which escaped destruction were
those of St. Paul's, York, Durham, and Lincoln
Cathedrals, Christ's College, Cambridge, and a few
others.

Notwithstanding all this wanton destruction, Oliver
Cromwell, it is said, was himself a lover of music, and
instances are on record of his befriending musicians.
His secretary, the poet Milton, was a good performer
on the organ, and the son of an eminent composer.

42 THE ORGAN AND ITS MASTERS

The organ which stood in Magdalen College, Oxford,
was saved from destruction by Cromwell, who caused
it to be removed to Hampton Court, in order that he
might have the frequent pleasure of hearing it played.
Cromwell also appointed as his music master and
organist one John Kingston, at a salary of ;2^ioo per
annum, and according to Anthony Wood, who lived
during the Protectorate, Oliver Cromwell " loved a
good voice and instrumental music well,"

There were indications, too, during the latter years
of Cromwell's life, that the art of music would receive
more distinct assistance. Many learned musical
treatises were published during the Protectorate, and
music was enjoyed privately. In 1656 a license was
granted to William Davenant to open a kind of
theatre, in a room behind Rutland House, Aldersgate
Street, London, for an " entertainment in declamation
and music after the manner of the ancients," and
later on other similar enterprises were allowed.

Church music, however, had been practically
stopped, and the forces so scattered that on the Res-
toration only three men — Doctor Wilson, Christopher
Gibbons, and Henry Lavves — came forward to claim
their appointments. In the same way, most of the
skilled organ-builders had been dispersed. Many
had been obliged to work as carpenters or joiners,
while others had gone abroad, so that very few
skilled men were to be found. Inducements were

THE ORGAN AND ITS MASTERS 43

offered to encourage Continental builders to settle
in England, and in response to the invitation, Bern-
hard Schmidt, with his two nephe'ws, settled in Eng-
land, and Thomas Harris, an Englishman, with his
son, Renatus, who had taken refuge in France, re-
turned to his native land. These, together with
Henry Loosemore, of Exeter, and Robert and Ralph
Dallam, were, for some years, the chief organ-builders
in England.

Loosemore, in 1665, built an organ for Exeter Ca-
thedral, containing the largest pipes made in England
up to that time, viz., an open diapason, of which the
speaking part was twenty feet six inches long. The
organ contained two manuals, fifteen stops, and one
thousand and eighty-four pipes.

Thomas Harris, in 1667, built an organ of fourteen
stops, chiefly foundation-stops, for Worcester Cathe-
dral, but it did not compare favourably with the organs
of his rivals, nor with one which he built about 1670,
in London, for St. Sepulchre's Church. This organ
was of two manuals, eighteen stops, and one thousand
one hundred and seventy pipes. Schmidt built the
organ for the Temple Church in 1682, as has already
been stated, but both Schmidt and Harris built or-
gans for this church in competition. That of Schmidt
was set up in the west gallery, and that of Harris on
the south side of the communion table. These organs
were at first exhibited separately on appointed days,

44 THE ORGAN AND ITS MASTERS

and then tried on the same day. Although they
were completed in 1684, it was not until nearly four
years later that the decision was given in favour of
Schmidt's organ. This instrument reached in the
bass to FFF. From FF upward it had two additional
keys or quarter notes in each octave, " which rarityes,"
we are told, " no other organ in England hath ; and
can play any tune, as, for instance, ye tune of ye
119th Psalm (in E minor), and severall other services
set by excellent musicians ; which no other organ
will do." This description gives a sufficient picture
of the limitations of the finest organs in those days,
and offers a reasonable ground for the statement that
the concert organist had not yet come into existence.

The love of ornament and luxury, which was char-
acteristic of the seventeenth century, had its influence
upon organ-building, particularly in regard to the ex-
terior of the instruments. Perhaps it will be per-
missible to quote once more the often quoted portion
of Seidel's work on the organ :

" At this time, great industry and expense was be-
stowed upon the external decoration of the organ.
The entire case was ornamented with statues, the
heads of angels, vases, foliage, and even figures of
animals. Sometimes the front pipes were painted
with grotesque figures, and the lips of the pipes
made to resemble lions' jaws. They went farther,
and threw away the money which might have been

THE ORGAN AND ITS MASTERS 45

expended in a worthier manner, on the display of the
most tasteless and absurd trick of art, degrading
thereby — doubtless unintentionally — a noble instru-
ment, intended for sacred purposes, into a raree-show.
Among these ornaments the figures of angels played
a very conspicuous part ; trumpets were placed in
their hands, which by means of mechanism could be
moved to and from the mouth. Carillons (bells), too,
and kettledrums were performed upon by the movable
arms of angels. In the midst of this heavenly host,
sometimes a gigantic angel would be exhibited hover-
ing in a ' glory ' over the organ, beating time with his
baton as conductor of this super-earthly orchestra.
Under such circumstances, the firmament, of course,
could not be dispensed with. So we had wandering
suns and moons, and jingling stars in motion. Even
the animal kingdom was summoned to activity.
Cuckoos, nightingales, and every species of bird, sing-
ing, or rather chirping, glorified the festival of Christ-
mas, and announced to the assembled congregation
the birth of the Redeemer, Eagles flapped their
wings, or flew toward an artificial sun. The climax,
however, of all these rarities, was the fox-tail. It
was intended to frighten away from the organ all
such inquisitive persons as had no business near it.
Thus, when they pulled out this draw-stop, suddenly
a large fox-tail flew into their faces ! It was clear
that by such absurd practices curiosity was much

46 THE ORGAN AND ITS MASTERS

rather excited than stopped, and that all this host of
moving figures, and their ridiculous jingling, disturbed
meditation, excited the curiosity of the congregation,
and thus disparaged the sublimity of divine service."

We will now return to the organists of the time of
the civil war.

Arthur Phillips (born 1605) was appointed organist
of Bristol Cathedral in 1638, and of Magdalen Col-
lege, Oxford, in the following year. He soon after-
ward joined the Roman Church and became organist
to Queen Henrietta Maria, in whose service he went
to France. It was his organ which Cromwell re-
moved to Hampton Court.

Doctor Benjamin Rogers (born 16 14) appears to
have been a somewhat nomadic character, for he held
a great variety of appointments at various times, viz.,
Christ Church, Dublin, Eton College, St. George's,
Windsor (as deputy), and Magdalen College, Oxford.
This latter place he lost on account of certain irregu-
larities, but was granted an annuity. He composed
much church music, and some of his anthems are to
be found in the collections of Boyce, Rimbault, and
Ouseley. He died in 1698.

Edward Lowe, a native and chorister of Salisbury,
became organist of Christ Church Cathedral, Oxford,
and professor of music in the university, and was for
a time organist of the Chapel Royal. He died in
1682.

THE ORGAN AND ITS MASTERS 47

A more noted musician and prolific composer was
Matthew Locke, a native and chorister of Exeter,
who was appointed composer in ordinary to the king.
Locke does not appear to have held any more impor-
tant position than that of organist to the queen, but
he wrote some church music for the Chapel Royal
and became embroiled with the choir. He died in
1677, and Purcell composed an elegy on his death.

Doctor John Blow, though not one of the first
organists appointed after the Restoration, was one
of the first set of children of the Chapel Royal on
its reestablishment in 1660, under Captain Henry
Cooke, who is mentioned frequently in Pepys's diary.
Amongst the fellow choristers of Blow were Pelham
Humfrey and William Turner, who, with him, com-
posed an anthem with orchestral accompaniment,
while they were yet boys.

Pelham Humfrey was a youth of such conspicuous
talent that he was sent to France by the king that
he might study under Lully. But Humfrey's prom-
ising career was cut short by death when he was but
twenty-one years of age.

John Blow was born in 1648, in Nottinghamshire,
and rose to eminence rapidly, for he was chosen
organist of Westminster Abbey at the age of twenty-
one. Eleven years later Purcell, his pupil, was
appointed to this office at the request of Blow, but
on Purcell's death Blow was reinstated. He held

48 THE ORGAN AND ITS MASTERS

many oflfices, and was the first regularly appointed
composer to the Chapel Royal.

Unfortunately but little of Blow's music has been
published, though he was a voluminous composer.
Three services and eleven anthems are printed in
Boyce's collection, but fourteen services and over
one hundred anthems are in existence.

Doctor Blow is said to have been a very handsome
man, and remarkable for gravity of deportment,
blameless morals, and a benevolent temper. Haw-
kins says of him : " Such as would form a true esti-
mate of his character as a musician must have
recourse to his compositions for the Church, his
services and anthems, which afford abundant reason
to say of Doctor Blow, that among church musicians
he has few equals and scarce any superior."

Doctor Blow died in 1708 and was buried under
the organ in the north aisle of Westminster Abbey.
The inscription on his monument appropriately says :
" His own musical compositions, especially his church
musick, are a far nobler monument to his memory
than any other that can be raised for him." Doctor
Blow was the teacher of several musicians who rose
to eminence, such as Jeremiah Clarke, William Croft,
and Henry Purcell, but of these the greatest genius
was Purcell, who indeed has been called the greatest
of all English musicians.

CHAPTER IV.

PURCELL TO HANDEL

The effect of the Puritan rule in England upon
music is strikingly indicated in Matthew Locke's
" Present Practise of Musick Vindicated," which was
published in 1673. He says: "For above a year
after the opening of his Majestie's chapel, the
orderers of the musick there were necessitated to
supply the superior parts of the music with cornets
and men's feigned voices, there being not one lad for
all that time capable of singing his part readily."

The year 1658 may be considered to mark the
beginning of a new era in music. It is doubly mem-
orable because in it occurred the death of Cromwell
and the birth of Henry Purcell, who raised the
musical fame of England to a height it had never
before attained. Purcell was born in St. Ann's Lane,
Old Pye Street, Westminster.

Henry Purcell, the father of the great composer,
was a gentleman of the Chapel Royal, and in that
capacity sang at the coronation of Charles II. He
was also a singing-man, master of the chorister boys,

49

50 THE ORGAA' AND ITS MASTERS

and music copyist of Westminster Abbey, and he
was an intimate friend of Matthew Locke, in whose
company be met Samuel Pepys, Esq., and thus ap-
pears in the celebrated diary. The elder Purcell
died in 1664, leaving his son of six years old to the
care of an uncle, Thomas Purcell, who also was a
gentleman of the Chapel Royal and was held in high
favour by the king.

Thomas Purcell was chief lutenist, composer in
ordinary for the vioUns, and leader of the king's band
of "four and twenty fiddlers." Many other appoint-
ments, also, he held, but the chief interest to us is
that to his care fell the education of young Henry
Purcell. Accordingly the boy was placed in the
choir of the Chapel Royal under Captain Henry
Cooke, who was at that time the master of the
children. For eight years, or until he was fourteen
years of age, Purcell remained under the instruction
of Captain Cooke, and already began to show his
talent as a composer, for many of the anthems now
in use in the Church were written during this
period.

Captain Cooke died in 1672 and was succeeded by
Pelham Humfrey, who also died in 1674, and was
succeeded by Doctor John Blow. Purcell became a
pupil of Blow, who took pains to proclaim the re-
markable abilities of his talented pupil, as he did also
those of Jeremiah Clarke. In fact. Doctor Blow

THE ORGAN AND ITS MASTERS 5 I

resigned his offices at Westminster Abbey and St.
Paul's Cathedral in order that they might occupy
these prominent and advantageous positions. Thus
Purcell became organist of Westminster Abbey in
1680, at the age of twenty-two. He had been
appointed copyist in 1676, and held that position
for two years, resigning it in order that he might
devote more time to study and composition, but in
1689 he was reappointed to this post.

In addition to being organist of Westminster
Abbey, Purcell was in 1682 appointed to a similar
post at the Chapel Royal, and in addition to all his
duties in connection with these two important posi-
tions, he was assiduous in composition, bringing out
many new works for the theatres and for state
occasions.

Purcell married in 168 1, and in the following year
(July 31, 1682) his uncle, Thomas Purcell, who had
been more than a father to him, died, and was buried
in the cloisters of the Abbey. A few days later
a son was born to Purcell, but survived only a few
months. This child was named John Baptista, as
a mark of friendly regard for John Baptist Draghi,
the well-known musician, who was in England about
that time. Purcell's other children were Thomas,
bom and died 1686; Henry, born and died 1687;
Frances, born 1688 — she married in 1707 L.
Welsted; Edward, born 1689, became organist of

52 THE ORGAN AND ITS MASTERS

St. Margaret's, Westminster, in 1726, and died in
1740.

The year 1684 is remarkable for the organ compe-
tition at the Temple Church, London, which has
already been alluded to. In this competition the
rival organ-builders selected the organists who should
exhibit their instruments. Smith (or Schmidt) se-
lected Doctor John Blow and Henry Purcell. Harris,
the rival builder, obtained the services of John
Baptist Draghi, whose skill and popularity as an
organist is proved by frequent mention in records
of the time. It is possible that the decision in
favour of Smith's organ may have been reached
through the fact of its jDossessing the two extra
quarter tones in each octave, which, it has been
intimated, were added at Purcell's suggestion, and
which gave him additional facilities for modulating
into remote keys. Smith was organist of St. Mar-
garet's, Westminster, and was on very friendly terms
with Purcell.

In the following year Purcell was actively con-
cerned in superintending the erection of an organ in
Westminster Abbey, expressly for the coronation of
James II. and his queen. This was a small instru-
ment placed just behind the seats occupied by the
" King's Choir of Vocal Musick," in a gallery under
a soiuh chancel arch, opposite to that in which sat
the "King's Instrumental Musick." For this coro-

THE ORGAN AND ITS MASTERS 53

nation Purcell wrote two anthems, " I was glad,"
and " My heart is inditing."

In 1686 Purcell composed a " Quickstep," which,
although not in itself of a nature to be dealt with
in these pages, may be mentioned as leading to
important events. This "Quickstep" was selected
and applied to the absurd verses of the song " Lilli-
burlero," which was a satire on the papists. Such
was the popularity of the music, that the song
spread like wildfire. The whole army, and then the
whole people, in city and country, were singing it
perpetually, so that, as Bishop Burnet wrote, " never
had so slight a thing so great an effect." The song
is said to have contributed not a little toward the
great revolution of 1688, which resulted in the
abdication of King James, and the accession of
William and Mary.

In connection with the coronation of William and
Mary a story is told which is interesting, because it
throws some light upon the privileges of organists.
Purcell admitted into the organ-loft some persons
who were desirous of being near spectators of the
ceremony, and who were willing to pay for the privi-
lege. Purcell retained this money as a perquisite of
his office, but the dean and chapter, Doctor Sprat,
claimed it.

Whether Purcell was within his rights or not, the
dean had the advantage of him, for upon the chapter

54 THE ORGAN AND ITS MASTERS

book of the period there is an entry ordering that
" Mr. Purcell pay to Mr. Needham such moneys as
was received by him for places in the organ-loft,
in default of which his place is to be declared null
and void, and his stipend to be detained in the hands
of the treasurer until further orders." According
to one account Purcell is mentioned as "organ-
blower," a term which is supposed to have been used
in malice, but according to Doctor Benjamin Cooke,
the word in the record is organist, and not organ-
blower.

In 1695 Purcell composed two anthems for the
funeral of Queen Mary, " Blessed is the man," and
" Thou knowest. Lord." Concerning these anthems
Doctor Tudway, who was a member of the choir,
wrote : " The anthem, ' Blessed is the man,' was
composed after the old way, and was sung at the
interment of Queen Mary in Westminster Abbey
... I appeal to all that were present, as well such
as understood music, as those that did not, whether
they ever heard anything so rapturously fine and
solemn, and so heavenly in the operation, which drew
tears from all ; and yet a plain, natural composition
which shows the power of music, when 'tis rightly
fitted and adapted to devotional purposes." The
other anthem, " Thou knowest. Lord, the secrets of
our hearts," " was accompanied by flat, mournful
trumpets." This majestic movement is a splendid

THE ORGAN AND ITS MASTERS 55

monument to the memory of Purcell, and has been
used at every choral funeral in Westminster Abbey
and St. Paul's Cathedral since its first production.
Doctor Croft, who subsequently set to music the
" Burial Office," refrained from composing music to
these words, because he declared that the music of
Purcell was unapproachable, and he adds that in com-
posing his own music he had endeavoured, as near as
possible, to imitate " that great master and celebrated
composer, whose name will for ever stand high in the
ranks of those who have laboured to improve the
English style, in his so happily adapting his composi-
tions to English words in that elegant and judicious
manner, as was unknown to many of his predeces-
sors."

At the time of writing these anthems Purcell was
in a delicate state of health, yet he worked on with
undiminished activity and determination. But dis-
ease had fastened its grip upon him, and on Novem-
ber 21, 1695, he passed away. Five days later
he was interred in Westminster Abbey, beneath the
organ, the anthems which he had written for the
funeral of Queen Mary being repeated for his own
obsequies.

It is not possible to give any space in these pages
to the consideration of secular music, but it must be
stated that while Purcell's church music places him
at the head of church music composers, his secular

56 THE ORGAN AND ITS MASTERS

music is more voluminous, and includes some of the
choicest gems. The music of "The Tempest" is
extremely beautiful ; the songs " Come unto These
Yellow Sands," and *' Full Fathom Five," are well
known, and are frequently to be found in concert
programmes at the present day.

Concerning Purcell and his music the Reverend
Arthur Bedford, who published in 171 i a volume
entitled the " Great Abuse of Musick," writes :
" Our musick began to equal that of the Italians and
to exceed all other. Our Purcell was the delight of
the nation and the wonder of the world, and the
character of Doctor Blow was little inferior to him."

Doctor Tudway also may be quoted : " I knew him
perfectly well. He had a most commendable ambi-
tion of exceeding every one of his time, and he suc-
ceeded in it without contradiction, there being none
in England, nor anywhere else that I know of, that
could come in competition with him for compositions
of all kinds. Toward the latter end of his life he
was prevailed upon to compose for the English stage.
There was nothing that had ever appeared in Eng-
land like the representations he made of all kinds,
whether for pomp or solemnity, in his grand chorus,
etc., or that exquisite piece called the freezing
piece of musick; in representing a mad couple, or
country swains making love, or indeed any other
kind of music whatever. But these are trifles in

THE ORGAN AND ITS MASTERS 57

comparison of the solemn pieces he made for the
Church, in which I will name but one, and that is
his Te Deum, etc., with instruments, a composition
for skill and invention beyond what was ever at-
tempted in England before his time."

As for his fame abroad, it is related that Corelli,
who flourished in Rome contemporaneously with
Purcell, declared that the latter was the only thing
worth seeing in England, and the great opinion he
held of Purcell made him resolve to journey to Eng-
land to visit him, a scheme which was frustrated by
Purcell' s death.

Jeremiah Clarke, after leaving the choir of the
Chapel Royal, became for a short time organist of
Winchester College, but in 1693 Doctor Blow, who
was always anxious to forward the interests of his
talented pupils, resigned in his favour the appoint-
ments of almoner and master of the children of St.
Paul's Cathedral, and in 1695 Clarke was appointed
organist and vicar choral of the cathedral. Five
years later he and William Croft were sworn in as
gentlemen extraordinary of the Chapel Royal, with
the joint reversion of an organist's place, whenever
one should become vacant. This occurred in 1704, on
the death of Francis Piggott, and Clarke and Croft
were accordingly sworn in as joint organists. Clarke
wrote but little church music, but that little was
good, and two of his anthems are still favourites.

58 THE ORGAN AND ITS MASTERS

Clarke was one of the most popular musicians of his
day. He died by his own hand at the age of thirty-
eight. Having fallen in love with a lady whose
station in life was far above his own, he became a
victim to despair and shot himself.

The year of his death marked a new era in musical
art in England, for with the introduction of Italian
opera, encouragement was given to foreign produc-
tions and foreign music in preference to that which was
English, a condition which continued, and can hardly
be said to have ceased to exist even at the present day.
Native art was almost entirely confined to church
music, and from among all the musicians of the time
only a very few maintained the prestige of English
church composers. Of these Weldon, Croft, Greene,
and Boyce were the most prominent during the first
half of the eighteenth century.

William Croft was born in Warwickshire in the
year 1677, ^^"^ was admitted to the Chapel Royal as
chorister when eight years of age. Here he was a
pupil of Doctor Blow, who recommended him in 1699
to the position of organist of the church of St. Anne,
Soho, where an organ had recently been erected.
This place he retained until 171 1, although he also
received the Chapel Royal appointments already
mentioned, and in 1707, on the death of Clarke be-
came sole organist there. John Isham, his pupil,
acted as deputy for him at St. Anne's. In 1 708, on the

THE ORGAN AND ITS MASTERS 59

death of Doctor Blow, he was made organist of West-
minster Abbey, and at the same time master of the
children and composer to the Chapel Royal. In this
latter capacity he had occasion to write many of the
anthems which gave him such a prominent place in
the list of English church composers. They were
written for special occasions, such as the frequent
public thanksgivings for victories, etc. Doctor Cjoft
published in 1724, by subscription, his " Musica
Sacra," a collection of thirty anthems and a burial
service, the latter being a completion of one begun
but not finished by Purcell. This was the first pub-
lication of a number of anthems in score, the only
previous attempt of a similar nature having been a
service of Purcell's, which was not well done. Croft's
anthems, "God is gone up," and "We will rejoice,"
are in constant use at the present day, as is also his
service in A, of which the Gloria and the Jubilate
have never been surpassed for magnificence and
power. Four anthems are published in Boyce's col-
lection, and two of Croft's hymn-tunes, St, Anne's and
St. Matthew's, will live as long as church music lasts.

Doctor Croft died in 1727, and was buried in the
north aisle of Westminster Abbey, near to Doctor
Blow.

John Weldon was a native of Chichester, and was
educated in the choir at Eton, from which place he
was transferred to Westminster Abbey, where he

6o THE ORGAN AND ITS MASTERS

became a pupil of Henry Purcell. He was appointed
organist of New College, Oxford, a position which he
held for some two years, when he became a gentle-
man extraordinary of the Chapel Royal, and suc-
ceeded Doctor Blow there as organist in 1708.
Weldon wrote some beautiful music for the Church,
in which deep religious sentiment appears to have
been the motive power. In his anthem " Hear my
crying," is to be found the earliest instance on record
of the employment of an inversion of the chord of
the augmented sixth. Mr. W. A. Barrett remarks
that " these sixths are of the family called, alternately,
German, Italian, and Neapolitan, because they were
discovered by an Englishman, and that Englishman
John Weldon, whose powers of invention and har-
monical combination seem very much limited, accord-
ing to Doctor Burney."

Weldon, in addition to other appointments, held
that of organist at St. Bride's, Fleet Street, and also
that of St. Martin's in the Fields. In regard to this
latter position, it is related that the king had been
appointed church warden to the parish, but after two
months' experience of the duties of that office, grew
weary and gave the parish an organ, which cost
fifteen hundred pounds, by way of a solace on resign-
ing his office. The organist also was part of the
present, for Weldon was organist to the king. He
died in 1736.

THE ORGAN AND ITS MASTERS 6 1

Maurice Greene was a native of London, and was
educated at St. Paul's Cathedral, where he was under
Jeremiah Clarke, Charles King, and Richard Brind.
After the deaths of Croft and Weldon, he rapidly-
rose to the front rank of his profession. In 1 7 1 5 he
was appointed organist of St. Dunstan's in the West,
and in 17 17 he was elected organist of St. Andrew's,
Holborn, in preference to Daniel Purcell, the brother
of Henry Purcell. He held both of these positions
until the death of his master, Richard Brind, when
he resigned them to become organist of St. Paul's
Cathedral, and vicar choral. In 1727 he became or-
ganist to the Chapel Royal (on the death of Croft),
and three years later he accepted the post of profes-
sor of music at Cambridge on the death of Doctor
Tudway. In 1735 he became "Master of the King's
Musick."

Greene published his " Forty Select Anthems " in
1743, but while there is evidence of genius in his
music, he is criticised as having been too anxious to
minister to the popular fancy of his time.

Doctor Greene came to grief by trying to be on
good terms with both Handel and his rival Buonon-
cini. The latter, less fortunate than Handel, was dis-
covered to have appropriated a madrigal by Lotti
and published it as his own, and left England in dis-
grace. Doctor Greene, who had produced the madri-
gal with a view to exalt the character of Buononcini,

62 THE ORGAN AND ITS MASTERS

unable to withstand the reproaches levelled at him,
left the Academy of Ancient Music of which he was
a member, and gave a concert under his own manage-
ment, at the Devil Tavern, in Fleet Street.

Doctor Greene's organ-playing was much admired,
yet he was the first who indulged in that peculiar
form of playing represented by " cornet voluntaries,"
that is to say, a habit of flourishing with a solo stop
on the right hand, accompanied with soft foundation-
stops on the left.

Doctor Greene was small of stature and disfigured
by a deformity, yet his courteous manners and pol-
ished address made him welcome in society. His
character does not seem to have been specially ad-
mired among musicians. His later years were spent
in comparative affluence, and he gave up his teaching
and devoted his leisure to collecting and arranging the
works of the old church composers. This task was
incomplete at his death and he bequeathed it to Doc-
tor Boyce. He died in 1755, aged sixty. Greene's
daughter married the Reverend Michael Festing, the
son of the Festing who was associated with Greene
in the foundation of the Royal Society of Musicians.

Although Handel was a German, he became a nat-
uralised Englishman, and was so long identified with
English music and musical life in England, that his
proper place seems to be among the musicians of
his adopted country.

THE ORGAN AND ITS MASTERS 63

Handel was born at Halle in 1685, and was the
son of a surgeon, who had arrived at the mature age
of sixty-three before the young musician, Georg
Friedrich, was presented to him. The details of the
early life of Handel are so familiar to all that it is
unnecessary to dwell upon them at length in these
pages. How he studied music surreptitiously, and
ran behind his father's carriage when the latter went
on a visit to Weissenfels, and how the father at last
took him into the carriage, is a familiar story. On
reaching the castle the boy at once made friends of
some musicians attached to the service of the duke's
chapel who took him into the organ-loft, where, after
service, the organist lifted him upon the stool and
permitted him to play upon the instrument. Thus
was the sympathy of the duke, who witnessed the
scene, enlisted, with the result that the young Handel
began his musical education, and the idea of a legal
career was abandoned.

On his return to Halle the boy was placed under
Zachau, the organist, who taught him to play upon
the organ, harpsichord, violin, hautboy, and most of
the orchestral instruments of the period, besides in-
structing him in the arts of counterpoint and fugue.

About 1696 the young musician was sent to Berlin,
where his talent became so conspicuous that the Elec-
tor Friedrich offered to send him, free of expense,
to Italy to complete his education. But to this his

64 THE ORGAN AND ITS MASTERS

father objected, and the boy was summoned back to
Halle, where, a few months later, his father died. In
1702 Handel was admitted as a student to the newly
founded University of Halle, and in the same year,
owing to the dismissal of Leporin, the organist, in
disgrace, Handel was appointed to fill his position at
the cathedral attached to the Moritzberg, subject to
a term of twelve months' probation. This appoint-
ment was second in importance to that of Liebfrau-
enkirche, and the salary connected with it was fifty
thalers per annum, with an official residence, which
was underlet for a sum of sixteen thalers. The or-
gan was a remarkably fine one, built in 1667, and
contained two manuals, twenty-eight stops, and fif-
teen hundred pipes. The duties of the organist
included seeing that the instrument was kept in
proper repair and working order, also that he should
set to music the psalms and church cantatas proper
for all Sundays and festivals throughout the year,
and take whatever measures might be necessary for
their correct and efficient performance.

No sooner was his term of probation over than
Handel gave up the appointment and set forth for
Hamburg, where he secured an engagement as
ripieno second violin in the opera orchestra, and
here he soon struck up a friendship with Johann
Mattheson, the principal tenor singer at the opera,
who became celebrated for his literary productions.

THE ORGAN AND ITS MASTERS 65

To him we are indebted for much that we know
about Handel.

Mattheson and Handel together visited organs and
choirs, operas and concerts, and while Mattheson
appears to have had small regard for Handel's ability
as a composer at that time, he says : "■ He was great
upon the organ ; greater than Kuhnau in fugue and
counterpoint, especially extempore, though he knew
but little of melody until he frequented the Hamburg
opera. On the other hand, Kuhnau's pieces were
always melodious and chantants, even those intended
only to be played. In former times scarcely any
one bestowed a thought upon melody ; bare harmony
was the end and aim of everything."

In August of that year (1703) Mattheson was in-
vited to Liibeck as successor to Buxtehude, and took
Handel with him. They played upon almost every
organ and harpsichord in the place, Handel playing
the organs and Mattheson the harpsichords. They
also listened with deep respect to Buxtehude at the
Marienkirche. It was a condition of the succession
of Buxtehude that the person accepting the appoint-
ment should also marry the daughter of the retiring
organist. Mattheson and Handel did not desire this
honour, which was afterward bestowed upon Johann
Christian Schieferdecker in 1707, when Buxtehude
died.

In this year Handel paid a short visit to Rome,

66 THE ORGAN AND ITS MASTERS

but in the meantime he had been busy producing
operas and other works, but desiring to learn more
about the use of the voice, he decided to study it at
the home of the bel canto. After a short stay in
Rome, he went to Florence, and thence to Venice,
where he remained three months, and returned to
Rome in March, 1708. In Rome he made the ac-
quaintance of Alessandro and Domenico Scarlatti,
and at the wish of Cardinal Ottoboni entered into a
friendly contest with Domenico for the purpose of
deciding their respective merits on the organ and
harpsichord. The verdict was that they were equally
proficient upon the harpsichord, but that on the
organ Handel had a very decided advantage. Ever
afterward, when Scarlatti was complimented upon his
organ-playing, he would cross himself and say, " But
you should hear Handel."

In July, 1708, Handel left Rome for Naples, and
afterward revisited several of the cities, finally leav-
ing Italy about the summer of 17 10, and after visit-
ing Hanover and Dusseldorf, made his way through
Holland to London. At Hanover he had been ap-
pointed chapel-master with free leave of absence, for
the purpose of completing his travels.

In London Handel soon made many friends, and
became on intimate terms with Thomas Britton,
commonly known as the "small coal man," who, pur-
suing the avocation of a coal peddler by day, became

THE ORGAN AND ITS MASTERS 6y

a musical amateur at night, and drew about him, in
order to hear intellectual conversation, and the best
chamber-music that London could produce, a most
brilliant circle. Here Handel used to play upon the
harpsichord, and upon a small organ of five stops.
Matthew Dubourg, one of the best violinists of the
age, made his first appearance, as a child, at these
gatherings. Doctor Pepusch, John Bannister, and
many others whose names became celebrated in the
world of music, were frequent visitors.

Handel returned to Hanover to resume his duties
as chapel-master, but in 17 12 again obtained leave
of absence, and hurried off once more to London,
where he was soon absorbed in the production of
operas. In this sketch we have refrained from any
digression from the subject in hand, and while
Handel's life, not only in England but in Hamburg
and in Italy, was largely devoted to operatic works,
we must, interesting as these may be, confine our
story to the part of his life when he devoted himself
more completely to the music of the church.

Having taken up his abode permanently in England,
as a naturalised English subject, Handel turned his
genius toward a style of composition which appealed
to the people of his adopted land, and founded the
school of English oratorio, a style of which the first
indications were to be found in the "Birthday Ode"
composed in honour of Queen Anne. The keen in-

68 THE ORGAN AND ITS MASTERS

tercst which he exhibited in St. Paul's Cathedral and
its organ, on which he used frequently to play,
brought him into frequent touch with the music of
Purcell, which represented the English school of
church music in the highest phase of development
which it had yet reached, and from this point he led
it on to its zenith. The " Utrecht Te Deum," com-
posed to celebrate the peace of 171 3, is generally
regarded as Handel's first great English work. It
was first performed at St. Paul's Cathedral on July
7, 1 71 3, and earned the composer a pension of two
hundred pounds per annum, for life. During the
next thirty years it was performed at St. Paul's,
alternately with Purcell 's Te Deum, for the bene-
fit of the Sons of the Clergy, until in 1743 Handel's
"Dettingen Te Deum" caused all other works of
the kind to be laid aside.

Handel's first oratorio was composed during his
residence at Cannons, the house of the Duke of
Chandos, who, having retired from active life with an
enormous fortune, built this splendid house or palace
near Edgware, and maintained a chapel, with a nu-
merous choir and a band of instrumental performers.

The duke's first musical director was Doctor
Pepusch, on whose resignation in 1718 Handel was
engaged. This engagement, however, lasted only
two years, and in 1820 Handel became interested in
the establishment of the first Royal Academy of

THE ORGAN AND ITS MASTERS 69

Music, an operatic enterprise which died out after
some ten years of checkered existence.

Thus it was not until 1738 that the first great
oratorio, " Saul," was produced. But it is our pur-
pose to follow the development of the organ rather
than choral music, and our interest must here be lim-
ited to what we can find regarding that instrument
in this connection. We are told that Handel made
his own effective organ-playing a prominent feature
in the instrumentation of the oratorio, and at the end
of the second movement stands the direction organo
ad libitntn.

When the "Messiah" was produced in Dublin,
for which occasion Handel visited that city and re-
mained there for some months, a series of six con-
certs was given, with such success that a second
series was also given, and at these concerts Handel
played organ concertos.

A very interesting question which comes before us
in connection with Handel's organ-playing in Eng-
land is the date at which pedals were first used in
that country. Although they had been used in Italy
and in Germany for many years, there is no definite
date of their introduction into England until the year
1790, when G. P. England built an organ for St.
James's Church, Clerkenwell, which had "pedals to
play by the feet." But it seems impossible that this
could have been the first pedal organ in England, for

yo THE ORGAN AND ITS MASTERS

in Handel's organ concerto in B-flat, written in
1740, there are obbligato passages for the feet em-
bracing stretches of an octave and a half. Through
Mattheson we know that Handel was an accom-
plished pedal-player in the days of his youth, and
Doctor Burney, in writing of him, says : " On Han-
del's first arrival in England, from Greene's great
admiration of this master's manner of playing, he
had sometimes literally condescended to become his
bellows-blower when he went to St. Paul's to play
upon that organ, for the exercise it afforded him in
the use of the pedals. Handel, after three o'clock
prayers, used frequently to get himself and young
Greene locked up in the church together ; and in
summer, often stripped unto his shirt, played until
eight or nine o'clock at night." In 1720 new stops
and notes were added to the organ at St. Paul's, and
it is considered probable that a pedal keyboard
formed part of the addition. On this organ he
played before the Princesses Anne and Caroline in
1724. It may be assumed, then, that pedals were
first used in England early in the eighteenth century.
A glowing description of Handel's organ-playing is
given by Sir John Hawkins, and though Handel was
not the regular organist of any church after his so-
journ at Cannons, he was undoubtedly the greatest
organ-player of his age, excepting J. S. Bach, whom
he never met. The opinion of Sir John Hawkins

THE ORGAN AND ITS MASTERS 7 1

may, therefore, be quoted at length : " As to his per-
formance on the organ, the powers of speech are so
hmited that it is almost in vain to attempt to describe
it otherwise than by its effects. A firm and delicate
touch, a volant finger, and a ready delivery of pas-
sages the most difficult are the praise of inferior
artists : they were not noticed in Handel, whose excel-
lencies were of a far superior kind, and his amazing
command of the instrument, the fulness of his har-
mony, the grandeur and dignity of his style, the fer-
tility of his invention were qualities that absorbed
every inferior attainment. When he gave a con-
certo, his method in general was to introduce it with
a voluntary movement on the diapasons, which stole
on the ear in a slow and solemn progression ; the
harmony close wrought and as full as could possibly
be expressed ; the passages constructed with stupen-
dous art, the whole, at the same time, being perfectly
intelligible, and having the appearance of great sim-
plicity. This kind of prelude was succeeded by the
concerto itself, which he executed with a degree of
spirit and firmness that no one could pretend to
equal. Such, in general, was the manner of his per-
formance ; but who shall describe its effects upon the
enraptured auditory } Silence, the truest applause,
succeeded the instant that he addressed himself to the
instrument, and that so profound that it checked res-
piration and seemed to controul the functions of

72 THE ORGAN AND ITS MASTERS

nature, while the magic of his touch kept the atten-
tion of his hearers awake only to those enchanting
sounds to which it gave utterance."

Handel's contribution to organ literature, apart
from that which is associated with his magnificent
oratorios, includes several sets of concertos. The
first set, consisting of six concertos (seven instru-
mental parts), published in 1734. The second set of
six concertos (two with seven instrumental parts),
published in 1741. (The instrumental parts to these
published in 1760.) The third set of six concertos
(seven instrumental parts), published in 1761, and a
set of three concertos published in 1797, also with
seven instrumental parts. The autographs of the
first three sets are preserved at Buckingham Palace.

Handel will, of course, always be judged by his
magnificent choral works, which embody the whole
of his genius, while his organ works are but a part,
yet his influence upon organ playing and composition
in England was strongly marked and lasting. His
interest in the noble instrument was made manifest
in many ways, of which one of the most character-
istic was his gift of an instrument to the Foundling
Hospital.

Handel had, in 1749, given a concert of vocal and
instrumental music for the benefit of this worthy
charity, and had composed an anthem for the occa-
sion, "Blessed are they that consider the poor."

THE ORGAN AND ITS MASTERS ^^

This concert had enriched the hospital considerably,
and now Handel, having been made a governor of
the hospital, proceeded to present the institution
with an organ, for its chapel. This organ was of
three manuals, twenty-one stops, and sixteen hundred
and twenty-three pipes, and was opened, with a per-
formance of the "Messiah," on May i, 1750, when
the crush for seats was so great that a second per-
formance was found necessary. But the matter did
not rest here, for Handel repeated the performance
annually during his lifetime, and thus increased the
funds of the hospital by the sum of nearly seven
thousand pounds, which was further added to after
his death by those who continued the work until
more than ten thousand pounds had been brought
into the funds of the hospital by this one work alone.
Handel died on April 14, 1759, and was buried in
Westminster Abbey.

CHAPTER V.

JOHANN SEBASTIAN BACH

The Bach family filled many important positions
as musicians during about three centuries. Several
of them were organists, prominent in their day,
though like all other organists, overshadowed by
Johann Sebastian Bach, the greatest organist of his
age, if not of all ages. A very brief sketch of the
family may be permitted.

The first Bach in musical history was Hans, who
lived at Wechmar, near Gotha, and who is mentioned
as Gemeinde-Vonmindscliaftsglied there in 1561.

The next is Veit, probably son of Hans, born about
1550, and died 16 19. He was a baker by trade, but
played the cithara for pleasure.

His son Veit, born about 1580, became a musician
and a carpet- weaver. He died in 1626, leaving a
large family, of which Johannes became organist at
Schweinfurt, and, after the Thirty Years' War, set-
tled at Erfurt, as director of the " Raths-Musikanten "
and later as organist in the church. He died in
1673.

74

THE ORGAN AND ITS MASTERS 75

Johann Christoph, the second son of Hans, was
born in 161 3, and was the grandfather of the great
Bach. He held musical appointments at Weimar,
Prettin, Erfurt, and Arnstadt, and died at the latter
place in 1661.

Heinrich, the third son of Hans, born in 16 15, be-
came organist at Arnstadt, where he died in 1692,
having filled his post for more than half a century.

Returning to Johannes of Erfurt, — his sons, Job.
Christian, born in 1640, and Job. Aegidius, born in
1645, were both musical, and the latter became the
father of Joh. Bernhard (1676-1749), who was organ-
ist at Erfurt, Magdeburg, and Eisenach, and of Joh.
Christoph (1685-17 17) who succeeded to the post
of his father. Johann Ernst (i 722-1 777) was the
son of Joh. Bernhard of Eisenach, and became a
lawyer, though he was also chapel-master at the
court of Weimar.

The sons of Johann Christoph of Erfurt and Arn-
stadt were, Georg Christoph (1642-97), cantor at
Themar, and later at Schweinfurt, where he died ;
Joh. Christoph and Joh. Ambrosius, twins, born in
1645. Johann Christoph went to Arnstadt as " Hof-
musikus," or court musician to the Count of Schwarz-
burg. He died in 1693, and his sons did not carry
on the musical tradition of the family. Ambrosius
was a violinist and became the father of many chil-
dren, of whom Johann Christoph and Johann Sebas-

^6 THE ORGAN AND ITS MASTERS

tian were musical, Johann Christoph (i 67 i-i 721)
was a pupil of Pachelbel at Erfurt, and became
organist of Ohrdruff. To his brother Sebastian we
will return later.

Returning to Heinrich Bach of Arnstadt, we have
his sons, Johann Michael (1648-94) and Johann
Christoph (1643- 1703).

Johann Christoph was the most famous of the
generations preceding the great J. Sebastian, He
became organist to the church at Eisenach at the
age of twenty-three, and later became court organist.
He died at Eisenach, His son Johann Nicolaus
(1 699-1 75 3) became organist of the town and uni-
versity of Jena, and died there. He was also a
manufacturer of pianos. His children did not sur-
vive him, so that his branch of the family died with
him.

Johann Michael was appointed, in 1673, organist at
Gehren, where he died in 1694 in the prime of life.
Of his six children, the youngest daughter, Maria
Barbara, became the first wife of Johann Sebastian,
and died in 1720. He also was a manufacturer of
musical instruments.

In Johann Sebastian centres the progressive de-
velopment of the race of Bach, which had been
advancing for years. With him the vital forces of
the race exhausted themselves, and further power
of development stopped. Born in 1685, he was left

THE ORGAN AND ITS MASTERS //

fatherless at the age of ten, and became a charge
upon his elder brother, Johann Christoph, who was
organist at Ohrdruff, Five years later he entered
the Michaelis school at Luneburg, where his voice
earned for him a free education. In his holidays
he made frequent expeditions to Hamburg, on foot,
in order to hear Reinken. He was appointed or-
ganist of the new church at Arnstadt in 1703. He
had, after being three years at Luneburg, been ap-
pointed " Hof-musikus " at Weimar, and while at
Weimar had visited Arnstadt and played upon the
organ, and visited his relations. The result was
that Bach was offered the position of organist, and
installed with all due ceremony.

His organ contained two manuals and pedals, and
twenty-four stops. After two years of untiring work
at Arnstadt, Bach was moved by a desire to hear the
celebrated organist Buxtehude, for he was unable to
learn anything from musicians in his own neighbour-
hood. He therefore sought a month's leave of
absence, and set out for Liibeck on foot, — a dis-
tance of some fifty miles, — and in due course Bach
found himself standing before . the organ which
Handel had played upon two years previously, when
in Liibeck upon a somewhat similar errand.

Even at the age of eighteen, when Bach played
the organ as a candidate for the position at Arnstadt,
he made a deep impression, and the authorities felt

yS THE ORGAN AND ITS MASTERS

bound to make a special effort on his behalf, and
now when he sought Buxtehude his talent proved
to be his best introduction.

Bach apparently forgot all about the limitations of
his leave of absence, and remained three months under
the influence of Buxtehude, so that on his return he
vi^as called to account by the Consistory. Besides
this the clerical authorities at Arnstadt became dis-
satisfied with his manner of playing the service, for
he had adopted a habit of indulging in ornamenta-
tions and digressions of a new and bold kind, even
during the singing. So far did he go at times that
the congregation did not know what they were listen-
ing to, and frequently got into complete confusion.
Thus he completely alienated his choir, which was
none too good for him. When requested to curtail
his free preludes before the hymns, he contracted
them to such a degree as to give general offence.
The result was that his duties as organist became
irksome and he devoted himself more than ever to
the work of production. And now the " eternal
feminine" puts in an appearance, for Bach is remon-
strated with on account of a " strange maiden " whom
he is supposed to have brought into the church and
made music with, contrary to the traditions of the
church.

His marriage in the following year to Maria
Barbara, the youngest daughter of Michael Bach, of

THE ORGAN AND ITS MASTERS 79

Gehren, perhaps justifies the accusation. This wife
became the mother of Bach's most illustrious sons,
— W. Friedemann, C. P. Emanuel, Joh. Ch. Fried-
rich, and Joh. Christian. His marriage took place
in the year 1707, and may have been prompted by a
feeling of independence caused by the numerous
offers made to him of positions as organist in differ-
ent places.

At Easter, 1707, he was successful in a trial per-
formance in the church of St. Blasius, at Miihl-
hausen, a position of greater honour, if not of
greater emolument, than that at Arnstadt, and on
October 17 the wedding took place and Bach
brought his bride to Muhlhausen. But theological
disputes in the church made his position at Miihl-
hausen uncomfortable, and it was with much satis-
faction that he received the appointment of court
organist at Weimar. His fame now soon spread
throughout North and Central Germany, and he made
many excursions from Weimar for artistic purposes,
for he had by this time acquired unlimited mastery
over the mighty instrument.

It was his habit to make visits, in the autumn of
every year, to some of the larger towns in the vicin-
ity, and to conduct, in person, performances of his
own cantatas. In this way he visited Cassel, where
he played before the crown prince, and so filled him
with astonishment and admiration by his marvellous

8o THE ORGAN AND ITS MASTERS

execution of a pedal solo that the prince drew from
his finger a ring set with precious stones and pre-
sented it to the master. " His feet flew over the
pedal-board as if they had wings, and the ponderous
and ominous tones pierced the ear of the hearer like
a flash of lightning or a clap of thunder ; and if the
skill of his feet alone earned him such a gift, what
would the prince have given him if he had used his
hands as well ? "

In the autumn of 17 13 he went to Halle, where
he performed with great success upon the new organ,
which had sixty-three stops. The position of organ-
ist was offered to him, but, as the terms were not to
his liking, he declined the honour.

In 1 714 he visited Leipzig for the first time, and
played at the St. Thomas or the St. Nicholas Church
on the first Sunday in Advent, and conducted a per-
foramance of his cantata, "Nun komm, der Heiden
Heiland."

In 1 71 7 he visited Dresden, where he met Jean
Louis Marchand, the celebrated French organist, who,
being under the ban of the king's displeasure, had
sought refuge at Dresden, and was much admired.
Discussions becoming rife as to their respective
merits, Bach was induced by his friends to chal-
lenge the vain and arrogant Marchand to a trial
of skill. The challenge was accepted, the arrange-
ments made. Bach and the umpires were ready at

THE ORGAN AND ITS MASTERS 8 I

the appointed hour, but Marchand's courage had
failed and he had left Dresden that morning by the
fast coach.

On his return from Dresden, Bach was engaged
by the Prince Leopold of Anhalt-Cothen as chapel-
master at Cothen. His life at Weimar was the most
productive of organ music, for he was indefatigable
in composing fugues and works of a kindred nature.
For his pupils he produced the " Little Organ-Book,
in which it is given to the beginning organist to per-
form chorales, in every kind of way, and to perfect
himself in the study of the pedal, inasmuch as in the
chorales to be found in it the pedal is treated quite
as obbligato!'

At Cothen, on the other hand, Bach had no church
duties, and his life was devoted to chamber-music,
but. his journeys to other towns were kept up. In
1 71 7 he went to Leipzig to examine the new organ
in St. Paul's Church, and in 1719 he went to Halle,
where he endeavoured to meet Handel, who had
visited his family for a short time after securing
singers for his opera-house in England. Unfortu-
nately Bach arrived just too late, for Handel had set
out for England that same day. Ten years later
these two great organists narrowly missed meeting
again, and on that occasion it was Bach who was
prevented by illness from travelling, so sent his
eldest son from Leipzig to Halle with an invitation

82 THE ORGAN AND ITS MASTERS

to Handel, — but Handel's time was then too limited
and the meeting never occurred.

In May, 1720, Bach returned to Cothen after one
of his journeys, and was met with the distressing
news that his wife was dead and had been buried on
the seventh day of that month. In the autumn of
the same year he went again to Hamburg, where
Reinken was still living at the age of ninety-seven.
On hearing Bach's improvisation on "An Wasser-
fiiissen Babylon " in the St. Katharine's Church,
Reinken came to him and said, " I thought this art
was dead, but I perceive that it still lives in you."
Reinken invited Bach to visit him, and treated him
with marked attention.

The organist of St. James's Church, Heinrich
Friese, had died shortly before Bach reached Ham-
burg, and Bach offered himself as a candidate for
the vacant position, but could not remain at Ham-
burg long enough to submit to the necessary tests.
It appears that he was asked whether he would
accept the place without passing any examination.
He did not decline, but the committee elected
another man, — Johann J. Heitmann, who, while un-
known in his art, had promised to pay to the church
four thousand marks in acknowledgment of having
been elected.

On December 3, 1721, Bach married a second
wife, Anna Magdalena Wiilken, twenty-one years

THE ORGAN AND ITS MASTERS 83

of age, the daughter of the court trumpeter. She
was extremely musical, and took part in her hus-
band's labours, to his great satisfaction, and bore
him six sons and seven daughters.

In 1723 Bach accepted a call to the St. Thomas
Schule, Leipzig, as cantor, for since the marriage of
the prince his interest in music had fallen off, and,
on the other hand, he felt the necessity of a
wider field than that offered by the court at Cothen.
" Das wohl temperirte Clavier " was one of the
results of his work at Cothen, the greater part
of them having been written during that period.

At Leipzig Bach's duties, besides those in the
school, included the direction of the music in
the churches of St. Thomas and St. Nicholas. On
ordinary Sundays a cantata and a motet were per-
formed in only one of the churches, each in turn ;
the first choir sung the cantata under the leading of
the cantor. But on the two first days of each of the
great festivals, and at the New Year, Epiphany,
Ascension Day, and Trinity Sunday, and on the
festival of the Annunciation, concerted music was
performed twice a day, and in both churches at
once, the plan being that the first choir sang at
St. Thomas's in the afternoon the same cantata that
it had performed in the morning at St. Nicholas's,
and on the next holy day following sang at St.
Thomas's in the morning and St. Nicholas's in the

84 THE ORGAN A. YD ITS MASTERS

afternoon, the second choir taking the reverse order.
The second choir sang under the conduct of its pre-
fect. The rehearsals of the Sunday music took place
in the church regularly on Saturday after two o'clock
vespers, and lasted till four o'clock. The direction
and performance of music for wedding festivals and
funeral processions were also regarded as part of the
cantor's official church duties.

It must not be imagined that Bach had an easy
time at Leipzig, or that he was free from criticism.
The great work which he accomplished, regarded
from a distance of more than a century and a half,
might easily lead one to suppose that the way was
made clear and easy for him, but he found in Leipzig
that the choir had fallen into such a wretched con-
dition that some very decisive steps were necessary,
if the music were to be carried on at all in the way
that had become traditional. He therefore forwarded
to the council a statement of the existing conditions,
together with his views on the indispensable constitu-
ents of the various choirs.

Some slight attention was paid to his requests, but
in spite of the lethargy of the authorities, he was able
to conduct, for the first time, a performance of the
" Passion Music " according to St. Matthew in the
Holy Week of 1729.

Bach was accused of neglect of his duties ; he was
required to hold his classes more regularly ; he

THE ORGAN AND ITS MASTERS 8$

was declared to be "incorrigible," and it was stated
that he "did nothing," a startling accusation, in view
of the fact that, during the seven years that he had
been cantor, he had not only produced the " St. Mat-
thew Passion Music," in itself a monumental work,
but had composed and performed a series of cantatas
which, to any other musician, would have represented
the labours of half a lifetime. On the occasion of
the Jubilee of the Augsburg Confession, the 25th,
26th, and 27th of June, Bach had produced and con-
ducted three grand cantatas, and this took place but
a few weeks before the startling accusation that he
"did nothing" was brought against him. It was
resolved to sequestrate his income, and he was sub-
jected to many petty indignities.

Goaded by these troubles, Bach sought a position
in Russia. His own words to his old acquaintance,
Erdmann, who had been appointed agent for the
Emperor of Russia, in Dantzig, describes the situa-
tion : "I find that (i) this appointment is by no
means so advantageous as it was described to me ;

(2) that many fees incidental to it are now stopped ;

(3) that the town is very dear to live in ; (4) that the
authorities are very strange folks, with small love for
music, so that I live under almost constant vexation,
jealousy, and persecution. I feel compelled to seek,
with God's assistance, my fortune elsewhere."

No new field opened for Bach, and he remained

86 THE ORGAN AND ITS MASTERS

at Leipzig. By and by the conditions became some-
what ameliorated, and Leipzig remained his home
until the day of his death. At Leipzig his greatest
work was accomplished. Most of the great choral
works were written and produced during the Leipzig
period of Bach's life. His cantatas number about
three hundred and eighty, besides which there are the
various settings of the " Passion," the '• Christmas
Oratorio," and many smaller works.

After twenty-three years as cantor at Leipzig, his
life ended in 1750, but not until he had already lost
his sight, and in other ways had begun to feel the
infirmities of age.

An interesting account is given of the organs in
the churches at Leipzig in use in the time of Bach,
a brief summary of which may be given here.

There were two organs in the St. Thomas Church.
The larger had been placed there in 1525, having
been previously in the Marien Church of the monks
of St. Anthony at Eiche, not far from Leipzig, It
was twice repaired in the seventeenth century, and
in 1670 was also enlarged. In the year 1721 it was
again renovated, and some four hundred new pipes
and the mixture-stops added by Johann Scheibe.
Again in 1730 and in 1747 this organ was repaired.
It contained three manuals and thirty-six stops.

The other organ was the smaller and the older,
having been originally built in 1489. In 1638 it was

THE ORGAN AND ITS MASTERS 8/

taken from its original position, and removed to a new-
gallery, opposite to the large oi'gan. At Easter,
1639, it was played in this place for the first time,
and remained there until the tim.e of Bach. In 1727
it was again repaired, but was of little use, and in
1740 it was removed by Scheibe, who used parts of
it for building the organ in St. John's Church. This
small organ contained three manuals and pedals, and
twenty-one stops. It was kept only for high festivals,
when two choirs and two organs were frequently
used.

The organ at the St. Nicholas Church was built
about 1597, and the last repairs, before the time of
Bach, had been made in 1698, when it contained
three manuals and pedal keyboard and thirty-six
stops. It was again repaired in 1725 by Scheibe,
and in 1750 by Hildebrand.

In contrast to these old organs, which were of
moderate capacity, and liable to get out of order
frequently, was the organ in the University Church,
which Bach chiefly used when playing for his own
pleasure or before other people. This organ was
built in 1 716, and fulfilled the highest expectations.
It contained three manuals and pedal keyboard, and
fifty-three stops. By a new invention six stops in
the pedal organ were brought into connection with
the great bellows of the manuals. This organ was
built by Scheide, and made his reputation.

88 THE ORGAN AND ITS MASTERS

It is not exactly known at what period the playing
of voluntaries came into vogue, but it is supposed
to have been customary at Leipzig in the time of
Bach. The prelude was used in order to prepare
the congregation for the hymns which were to be
sung, and was formed upon the melody of the hymn.
With the advancing development of the organ, the
custom of playing a concluding voluntary, in which
the organist could exercise his talent at will in free
fantasias and fugues, became more and more general,
but there is little mention found concerning this
practice.

For a comparison of Bach and Handel as organ-
ists we cannot do better than quote from Spitta's
life of Bach, in which the subject is carefully weighed
from the best evidence obtainable. Spitta writes
thus :

" The mention of Mattheson brings us once more
to a comparison and contrast of Bach and Handel —
this time, however, not as men, but as organists.
That Bach had no equal in Germany in playing the
organ was soon an admitted fact ; friends and foes
alike here bowed to the irresistible force of an un-
heard-of power of execution, and could hardly com-
prehend how he could twist his fingers and his feet
so strangely and so nimbly, and spread them out to
make the widest leaps without hitting a single false
note, or displacing his body with violent swaying.

THE ORGAN AND ITS MASTERS 89

But from England, on the other hand, Handel's grow-
ing fame had reached Germany, not only as a
composer of opera and oratorio, but as an unapproach-
able organ-player. So far as England was concerned,
that was not saying too much, but other foreigners
who had heard him there brought the same news,
and as he was a German, the comparison with Bach
was obvious, while Bach's cantatas. Passion music,
and masses were scarcely appreciated in the contem-
porary world as compared with Handel's music. The
attempt made by his Leipzig friend, in 1729, to bring
about a meeting of the two players miscarried, so
opinions and assertions could spread unchecked.
Some came from England with Handel's praises, but
saying, nevertheless, that there was but one Bach in
the world, and that no one could compare with him ;
others, on the other hand, were of the opinion that
Handel played more touchingly and gracefully. Bach
with more art and inspiration, and it was always the
one then playing who at the moment seemed the
greatest.

" In one thing all were agreed : that if there was
any one who could depose Bach, it could be none but
Handel ; as, however, the names of those who formed
this judgment have remained unknown, and we are
no longer able to determine how far they were com-
petent, it may be considered a happy accident that
Mattheson heard both the masters and recorded his

90 THE ORGAN AND ITS MASTERS

opinion. Soon after the transactions of 1720, he
writes that among the younger composers he had
met with no one who displayed such skill in double
fugues as Handel, whether in setting them or extem-
porising, as he had heard him do, with great admira-
tion, a hundred times. A very laudatory general
opinion of Bach has been already quoted ; and in
a remark written later they are set in direct com-
parison, as follows : ' Particularly, no one can easily
surpass Handel in organ-playing, unless it were
Bach, of Leipzig, for which reason these two are
mentioned first, out of their alphabetical order. I
have heard them in the prime of their powers, and
have often competed with the former, both in Ham-
burg and Liibeck.' It is beyond a doubt that
Mattheson was quite competent to pronounce judg-
ment in such a case ; he was a musician of incon-
testably sound training. But I regard it as equally
beyond a doubt that in this instance his informa-
tion is wholly worthless. Mattheson's recollection of
Handel's organ-playing dated from the days of their
youth, when they were much together — days which,
as he grew older, he recalled with a peculiar pleas-
ure. The experience is universal that favourable
judgments cherished in youth are apt to persist, in
spite of our progressive development, even when
the subject of our interest is never again within
reach for the verification of the opinion ; and this

THE ORGAiV AND ITS MASTERS 91

was the case here. Mattheson had never heard
Handel play since 1706. Even if he had, his deci-
sion might have remained the same, because Handel's
proclivities as an artist were far more sympathetic
than Bach's to Mattheson, who had grown up under
the influence of opera, — more particularly of Reiser's
opera, — and who, while still young, had become
indifferent to organ music. And this sympathy did
not cease to exist, in spite of Handel's distant be-
haviour; still, it is an error to assert that after 1720
Mattheson showed a warm interest in Bach. I have
already stated that this was not the case, and a
collation of the passages from Mattheson's writings,
relating to Handel and Bach, reveals his attitude
very clearly. Finally, it is of some importance to
note that vanity would prompt him to set Handel's
importance as an organist as high as possible, for
had he not competed with him in Hamburg and
Liibeck } The notable mode of expression used in
the sentence quoted — not free from partisanship,
but only wavering — also had its origin in the want
of lucidity, and the indecision of the writer, whose
inclination and judgment balanced on opposite sides.
All attempts to explain it away are vain; for this
purpose he is useless.

"We may, however, accept his statements about
Handel as a player and composer of double fugues,
for there is at any rate something characteristic

92 THE ORGAN AND ITS MASTERS

in it ; but this brings us back to deciding upon
internal grounds, which is, in fact, what we must
do with the whole question. It must all rest on
this : to which of the two musicians organ music was
of the deepest vital significance. Handel, too, had
derived his first training from a German organist,
and had been one himself, for awhile, in his youth ;
but he turned toward other aims, ending at last by
using the organ as a musical means, one among
others in the general mass of instruments he em-
ployed, but merely as a support, or to introduce
external embellishments. Bach started from the
organ, and remained faithful to it to the last day of
his life. All his productions in other departments —
or, at any rate, all his sacred compositions — are
merely an expansion and development of his organ
music ; this was to him the basis of all creation, the
vivifying soul of every form he wrought out. Conse-
quently in this he, of the two composers, must have
been capable of the greatest work — the greatest,
not merely in technical completeness, but also in the
perfected adaptation of its purport to the instrument.
When once we are clear as to this, the accounts
handed down to us are equally clear, and leave no
doubt in our minds that Handel's organ-playing was
not, properly speaking, characterised by style in the
highest sense, — was not that which is, as it were,
conceived and born of the nature of the instrument.

GEORG FRIEDRICH HANDEL

THE ORGAN AND ITS MASTERS 93

It was more touching and grateful than Bach's ; but
the proper function of the organ is neither to touch
nor to flatter the ear. Handel adapted to the organ
ideas drawn from the stores of his vast musical
wealth, which included all the art of his time, just
as he did to any other instrument. In this way he
evolved an exoteric meaning, intelligible to all, and
hence the popular effect. To him the organ was
an instrument for the concert-room, not for the
church. It corresponds to this conception that we
have no compositions by Handel for the organ alone,
while it was precisely by these that Bach's fame was
to a great extent kept up until this (nineteenth) cen-
tury ; but we have by Handel a considerable number
of organ concertos with instrumental accompaniment,
and adapted with brilliant effect to chamber music.

<' His fondness for the double fugue — an older,
simpler, and not very rich form, of which, however,
the materials are easier to grasp, and which is there-
fore more generally intelligible — can also be referred
to his exceptional attitude toward the organ ; and so
no less may the improvisatory manner which was
peculiar to his playing and to his clavier composi-
tions, which came close to the limits of organ music ;
while the organ — which, both in character and appli-
cation, is essentially a church instrument — must be
handled with the utmost collectedness of mind and
an absolute suppression of tb-^ mnod of the moment.

94 THE ORGAN AND ITS MASTERS

It is in the highest degree probable that Handel, —
whose technical skill was certainly supreme, — with
his grand flow of ideas, and his skill in availing himself
of every quality of an instrument, produced unheard-of
effects in his improvisations on the organ. But even
the more fervid and captivating of these effects must
have been very different from Bach's sublimer style.
I must at least contravene what has been asserted
by an otherwise thoughtful judge, — namely, that
he was surpassed on this one point, — taking it for
granted that improvisation is to be criticised by its
intrinsical musical worth, and not merely by its tran-
sient and immediate effect. At a time when so
much importance was attached to extempore music,
which indeed, as an exercise in thorough-bass, was
part of the musical curriculum everywhere, it would
have been most strange if the man whose whole
being as an artist was wrapped up in the organ, and
who had exhausted its powers in every direction, had
not risen to a corresponding height in this point also.
The express testimony of his sons and pupils as to
his 'admirable and learned manner of fanciful play-
ing ' — i. e., improvising — as to the ' novelty, singu-
larity, expressiveness, and beauty of his inspirations
at the moment, and their perfect rendering,' stands
in evidence. 'When he sat down to the organ, irre-
spective of divine service, as he was often requested
to do by strangers, he would choose some theme, and

THE ORGAN AND ITS MASTERS 95

play it in every form of organ composition in such a
way that the matter remained the same, even when
he had played uninterruptedly for two hours or more.
First he would use the theme as introductory, and
for a fugue with full organ. Then he would show his
skill in varying the stops, in a trio, a quartet or
what not, still on the same theme. Then would fol-
low a chorale, and with its melody the first theme
would again appear in three or four different parts,
and in the most various and intricate development.
Finally, the close would consist of a fugue for full
organ, in which either a new arrangement of the
original theme was predominant, or it was combined
with one or two other subjects, according to its
character.'

" So far as concerns the other aspects of organ
music, the author of the Necrology might with justice
appeal to Bach's existing compositions, which call
into requisition the highest technical means in order
to express the prof oundest ideal meaning and ' which
he himself, as is well known, performed to the utmost
perfection,' and so confirm his statement that * Bach
was the greatest organ-player that has yet been
known.' "

From the same source also we are able to draw
some comparison between Handel and Bach in regard
to proportions of voices, instruments, and organs in
the performance of their great choral works.

96 THE ORGAN AND ITS MASTERS

During the sixteenth century vocal music in Ger-
many had attained greatness, notwithstanding the
fact that each part was often sung by a single voice.
These insignificant choruses had remained, with few
exceptions, in use throughout the seventeenth cen-
tury and far into the eighteenth, while on the other
hand the treatment of the instruments increased
steadily in fulness and variety of colour, so that
in the time of Bach an orchestra of weak calibre out-
numbered the singers by more than a third. Bach
had in the memorial service of August 23, 1730,
twelve singers and eighteen instrumentalists besides
the organist.

The choir with which Handel performed his orato-
rios in England was numerically smaller than his
orchestra, but consisted of singers of greater techni-
cal ability than those of the German church choirs,
and consequently the tone was much fuller, besides
which Handel made a much more limited use of
the organ. The characteristic feature of giving the
vocal parts more importance than the instruments is
very prominent with him, and pervades his music so
strongly that, in performances of oratorios within a
few years of his death, it was settled in England that
the voices were to outnumber the orchestra. Han-
del's oratorio style tended toward laying a stronger
and more decisive emphasis on the vocal factor,
while Bach's chorus admits of strengthening addi-

THE ORGAN AND ITS MASTERS 97

tions only within narrowly defined limits, and, from
the first, never bore an indirect ratio to the instru-
ments.

"In Bach's church music the ruling or dominant
factor is not the chorus or the voices — if there
be any such factor it can only be said to be the
organ, or, to put it more decisively, the body of
sound used in performing Bach's church music is
regarded as a vast organ, of which the stops are
much more refined and flexible, and have the indi-
viduality of speech.

" Handel and Bach, the fundamental sources of
whose genius were in part the same, had arrived at
directly opposite results in this as in many other
problems of art."

In the latter part of the eighteenth century, after
the death of Bach, as the influence of the Protestant
Church decreased, the spiritual meaning of Bach's
church music became less understood. The organ
was used less, and a more secular and theatrical style
became popular, so that it remained for Mendelssohn
to give the permanent impetus to the growing admi-
ration for Bach by reviving the " St. Matthew Pas-
sion Music" in Berlin on March 12, 1829, exactly
one hundred years after its production.

Since that day Bach societies have been formed
without number in all musical countries, and from all
musical centres is accorded the worship of the great

98 THE ORGAN AND ITS MASTERS

musical genius which was but grudgingly given dur-
ing his lifetime.

In Johann Sebastian Bach culminated the genius
of his family. Those of his sons who survived him
did not reach the greatness of their father. W.
Friedemann, called the Halle Bach, was the most
gifted of the sons, and was considered the greatest
organ-player of his time. But he sunk into dissolute
habits, and died in 1784 in a state of great degrada-
tion and want.

Carl Philipp Emanuel, the third son of Sebastian,
was born in 171 4, and was brought up to study the
law, but being a good musician, relinquished the law,
and in 1737 went to Berlin. Some nine years later
he became accompanist to Frederick the Great. In
1757 he went to Hamburg and took the direction of
the music in one of the churches there. He suc-
ceeded Telemann in 1767, and held his post until
his death in 1788. As composer, director, teacher,
and critic his influence was great, and he was
much respected and beloved, for he had pleasant
manners, literary culture, and was a very active man
in music.

Wilhelm Friedrich Ernst was a son of Johann
Christoph Friedrich, Sebastian's ninth son, who is
known as the Biickeburg Bach, an upright, modest,
amiable man. Wilhelm F. E., after a sojourn of
some years in London with his uncle, Joh. Chris-

THE ORGAN AND ITS MASTERS C^C)

tian, settled in Minden, but was called to Berlin as
cemballist to the queen. He died in 1845.

Johann Christian, the eleventh son of Sebastian,
went to Milan, where, at the age of nineteen, he be-
came organist of the cathedral. Wishing to devote
himself to opera, he resigned his position and married
Grassi, the prima donna. He accepted an appoint-
ment as director of concerts in London, where he
died in 1782. He was most successful as a pianist
and composer for the pianoforte.

CHAPTER VI.

THE CONTEMPORARIES AND PUPILS OF BACH

It is now necessary to go back a few years and
look up some of the German organists, who, a few
years older than Bach, were more or less connected
with him, and whose lives are of interest for that
reason.

One of these was Johann Pachelbel, who was born
at Nuremberg in 1653, and whose life was somewhat
troubled by the unsettled political conditions of the
times. Pachelbel, on completing his education, be-
came deputy organist at the cathedral in Vienna,
after which he secured the positions of organist at
Eisenach in 1675, Erfurt in 1680, and Stuttgart
1690. From 1692 to 1695 he was at Gotha, when
he went to Nuremberg as organist to the church of
St. Sebaldus, where he passed the remainder of his
days, dying in 1706.

As a resident of the two chief centres of the Bach
family, he had ample opportunity to meet many of
its members. He was on intimate terms with the
father of Sebastian, who chose him to be godfather

100

THE ORGAN AND ITS MASTERS 10 1

to one of his daughters and teacher of his eldest
son.

At a time when Italy and South Germany had
outstripped North Germany in the art of organ
music, Pachelbel carried the Southern influence into
the heart of Germany, and stood above all his con-
temporaries as a writer. Eight choral treatments
by him, published in 1693, are said to indicate his
highest level in that line.

Pachelbel exerted a large influence on organ-play-
ing and composition. Among his most prominent
pupils were J. H. Buttstedt (i 666-1 727), who suc-
ceeded him in his position at Erfurt, and who was
a great master of his instrument as well as a remark-
able composer of organ chorales and fugues ; Niko-
laus Vetter, born in 1666, organist at Rudolstadt
until after 1730; Andreas Armstroff {1670-1699)
organist at Erfurt ; Johann Graff, organist of Magde-
burg (died 1709). Of the following generations,
among the more important who followed in his steps
were George Kauffmann (1679-173 5) ; Gottfried
Kirchoff (1685-1746), organist at Halle; and Johann
Walther of Weimar (i 684-1 748.)

Johann Kuhnau, who had preceded Bach as cantor
at Leipzig, was a remarkable musician in his day.
Born in 1667 at Geysing, he became a chorister at
Dresden, where he received good musical instruction.
In 1684 he became organist of the Thomaskirche at

I02 THE ORGAN AND ITS MASTERS

Leipzig, and, in 1701, cantor in the Thomas-Schule.
His talent was marked by phenomenal versatility, for
he acquired considerable knowledge of languages,
mathematics, and jurisprudence, and was an in-
genious writer on musical subjects. It is said that
previous to his arrival at Leipzig (which was at
the age of seventeen), he had maintained himself
by w^orking in the school at Zittau, and lecturing on
French.

In practical music he made himself famous by
being the first to transfer the chamber sonata to the
clavier. Kuhnau died in 1722, admired and honoured
as one of the best musicians of his time.

George Philipp Tclemann, whose name frequently
occurs in connection with Bach, was born in 1681
and was therefore four years older than Bach. He
was a native of Magdeburg and the son of a clergy-
man. His musical knowledge was gained without
any regular instruction, but by diligently studying
the scores of the great masters. In 1 700 he became
a student at the University of Leipzig, and while
carrying on his studies of languages and science, be-
came organist of the Neukirche and founded a society
among the students called " Collegium Musicum."
After numerous changes from one post to another,
he became, in 1721, cantor of the Johanneum, and
Musikdirektor of the principal church in Hamburg,
remaining there until his death in i "j^j.

THE ORGAN AND ITS MASTERS I03

Telemann was a highly skilled contrapuntist and a
most prolific composer, so much so that it is said he
could not reckon up his own compositions. It is
said that the shallowness of church music at the
latter end of the eighteenth century is due to the
influence of Telemann ; nevertheless he is called a
prominent representative of the Hamburg school in
its prime during the first half of that century.

Johann Gottfried Walther was regarded as a
second Pachelbel, and in his arrangements and vari-
ations of chorales on the organ he stood second to
Bach himself. Walther was a native of Erfurt, and
was born in 1684. He was distantly related to
Sebastian Bach, and a pupil of Johann Bernhard
Bach. In 1707 he became organist of the town
church at Weimar, where he remained until his death
in 1748.

Walther's name in the world of music is noted by
his " Musical Lexicon," pubhshed at Leipzig in 1732,
which is the first German attempt to bring the whole
mass of musical information into the dictionary form.
This work was the fruit of his leisure hours, and he
died while still occupied in trying to bring it to per-
fection. His chief occupation was practical music —
playing, teaching, and composition. His style of
playing is said to have been broad and solid, a con-
clusion which is reached from a study of such of his
compositions as are preserved, a number of which

104 ^^^ ORGAN AND ITS MASTERS

are for the organ or clavier. His chief interest was
bestowed upon organ chorales, of which he was not
only a prolific arranger, but also a diligent collector.
Though intimate with Sebastian Bach for a number
of years, there are indications, in the meagreness of
his mention of Bach in his " Lexicon," that the
friendship did not last.

Johann Tobias Krebs was one of the pupils of
Bach who became eminent. He was born in 1690
at Heichelheim, near Weimar, and in 17 10 was
organist and cantor at Buttelstadt. He was at first
a pupil of Walther's in playing and composition, but
continued his studies under Bach. His son, Johann
Ludvvig, also became an organist of the first rank, and
was a pupil of Bach at the age of thirteen. After
nine years' study under Bach he became organist
successively at Zeitz, Zwickau, and Altenburg, where
he died in 1 780.

Johann Caspar Vogler, born at Hausen, near Arn-
stadt, in 1696, is said to have been a pupil of Bach
while still a boy, and while Bach was organist at the
New Church. Later he went to the musical training
school at Erlebach, and then studied under Fetter,
the organist at Rudolstadt, after which he returned
to Bach and became one of his best pupils. In 171 5
he was organist at Stadtilm, but on the death of
Schubart, Bach's first pupil, succeeded him at Weimar,
where he remained, the Duke Ernest August giving

THE ORGAN AND ITS MASTERS I05

him the title of vice-burgomaster in order to keep
him at Weimar. He died about 1765.

Johann Gotthilf Ziegler, born at Dresden in 1688,
was for a time under Bach's tuition, for organ-playing.
Ziegler Hved at Halle, where he was organist of the
church of St. Ulrich, and was much sought after as a
teacher. He declined all offers of honourable em-
ployment elsewhere. It is said that his talent was
early, ripe, versatile and restless, and in addition to
music he also studied theology and jurisprudence.

Bernhard Bach, organist at Ohrdruff, who has
already been mentioned, a nephew of Sebastian, was
also his pupil, and it is probably to his industry that
we owe a valuable manuscript copy of Sebastian
Bach's compositions.

Johann Christian Kittel, a native of Erfurt (1732-
1809), was one of the last of Bach's pupils, for
Bach died when Kittel was but eighteen years of age.
Kittel became organist at the Predigerkirche at
Erfurt in 1756, but his pay was wretchedly inade-
quate, and his life was passed in poverty. He was
obliged, in his old age, to make a tour of Gottingen,
Hanover, Hamburg, and Alrona, after which he re-
turned to Erfurt and was kept from starvation by a
small pension allowed him by Prince Primas of Dal-
berg.

Kittel was renowned for his playing rather than
for his compositions, and he formed many excellent

I06 THE ORGAN AND ITS MASTERS

pupils, among whom was Rinck, who inherited his
papers. That Kittel was a devout worshipper of
Bach is shown by the stoiy, generally accepted as
true, that he possessed a full-sized portrait of Bach,
which he kept screened by a curtain. When any of
his pupils had merited reward, he would draw back
the curtain and allow them to look at the portrait as
the greatest privilege which he could bestow upon
them.

Jacob Adlung, born at Bindersleben, Erfurt, in
1699, was theologian, scholar, and musician, and was
known for his masterly playing, though he is not
regarded as a musician of high rank. He was or-
ganist of the Evangehcal church at Erfurt, and died
in 1762. He lost his house and all his possessions
by fire in 1736, but by his energy and perseverance
succeeded in overcoming his adverse fortune and left
several works of lasting value in musical literature.
In his youth he was befriended by Nicolaus Bach at
Jena, who sometimes allowed him the privilege of
playing upon his organ.

Another prominent organist of the same period
was Johann Ernst Eberlin, born at Jettingen in 1702.
Little is known of his early education, but he became
court organist to Archbishop Franz Anton, Graf von
Harrach, in 1727. Of his compositions for the organ
the best known are " IX Toccate e fughe per I'or-
gano," dedicated to Archbishop Jacob Ernst. His

THE ORGAN AND ITS MASTERS lO/

writings were numerous, and it was said by Marpurg
that he wrote as much and as rapidly as Scarlatti and
Telemann. He died in 1762, at Salzburg.

Heinrich Nicolaus Gerber, born in 1702, was the
son of a peasant, and went to the University of
Leipzig, where he came under the influence of Bach,
by whom his love of music was encouraged and de-
veloped. He became organist at Heringen, and in
1738 court organist at Sondershausen, where he died
in 1775. The early part of his life was largely spent
in escaping from the recruiting officers of Frederick
William I., and not until he was installed at Sonders-
hausen was he safe. His great height marked him
for the attention of the officers. He composed for
organ and other instruments, and made musical in-
struments, and for many years was court secretary.
His son Ernst Ludwig compiled a valuable Lexicon
of Music.

Johann Georg Albrechtsberger, who was born in
1736 at Klosterneuberg, near Vienna, and died at
Vienna, in 1809, ^^^ foJ" a long time an important
position in the world of music, for he was teacher
of many celebrated musicians, among whom may be
mentioned Beethoven, Hummel, Weigl, Seyfried,
Eybler, and Mosel. He began life as a chorister
in his native town, whence he proceeded to Molk,
where he was noticed by the crown prince, who after-
ward became the Emperor Joseph. He held the

I08 THE ORGAN AND ITS MASTERS

position of organist at Molk for twelve years, after
which he was organist at Raab in Hungary, and then
at Mariataferl, from which place he went to Vienna
to take the position of Rcgens Cltori to the Carmel-
ites. In 1772 he was appointed court organist, and
some twenty years later he became director of music
at St. Stephen's, where he entered upon his career as
a teacher.

He is said to have been a conscientious and pains-
taking teacher, but in Beethoven he found a pupil
who, apparently, left rather a painful impression on
him, for he said to an inquiring person, " Have noth-
ing to do with him ; he has learnt nothing, and will
never do anything in decent style," an opinion which
has not been fully justified by events.

Albrechtsberger's compositions are computed to
have numbered two hundred and sixty-one, but only
twenty-seven were printed. The finest of these is a
Te Deum, which was not performed until after his
death.

Justin Henry Knecht, native of Biberach (1752),
had a great reputation in his day, as organist, com-
poser, and theoretician. He was well educated and
held for a time the position of professor of literature
in his native town. From this he drifted by degrees
into music, and became director of opera and of the
court concerts at Stuttgart, which positions he re-
signed after a couple of years, and returned to

THE ORGAN AND ITS MASTERS 109

Biberach, where he died in 18 17. Knecht was soon
forgotten, but one is reminded of him by the fact
that he composed a Pastoral Symphony on a scheme
almost identical with that used by Beethoven for his
immortal " Pastoral Symphony " some twenty years
later. Apart from the title, no comparison of the
two works can be made.

Joh. Chr. Ludwig Abeille was a native of Bay-
reuth and became court organist at VVUrtemberg.
He received a gold medal at the completion of fifty
years of faithful service, also a pension, and died
shortly after at the age of seventy-one,

August Eberhardt Miiller was organist of St.
Nicholas Church at Leipzig from 1794 for several
years. He wa^ born at Nordheim in Hanover, and
was the son of an organist. He, like many other
musicians, began to study law, but gave it up in
favour of music, and in 1789 became organist of the
church of St. Ulrich in Magdeburg. In 1792 he
became director of the concerts in Berlin, and two
years later organist at Leipzig. Miiller ended his
days at Weimar (18 17), to which place he moved in
1 8 10. He was equally proficient as a performer on
the organ and harpsichord, and amongst his com-
position are suites for organ ; a sonata and chorale,
with variations.

Joseph Preindl (i 758-1 823) was a native of Mar-
bach on the Danube, and became a pupil of Al-

no THE ORGAN AND ITS MASTERS

brechtsberger in Vienna. He was a good composer,
a skilled pianist and organist, and a teacher of sing-
ing. His compositions include masses, smaller church
pieces, and pianoforte and organ music. Preindl was
appointed, in 1790, choirmaster of the Petcrskirche,
and in 1809, chapel-master of St. Stephen's in
Vienna. The latter post he held until his death,
when his pupil Gansbacher was elected to succeed
him.

Johann Gansbacher was a native of Sterzing in
the Tyrol (i 778-1 844), and enjoyed a somewhat
picturesque life. Beginning as a chorister in his
native village, where his father was organist and
choirmaster, he later went to Innspruck, Halle,
and Botzcn, and learned the organ, piano, cello, and
harmony. In 1795 he became a student in the Uni-
versity of Innspruck, but served as a volunteer in
the " Landsturm," which was formed in the following
year. In 1801, after having won the gold " Tapf cr-
keits-medaille," he went to Vienna and studied under
Vogler and Albrechtsberger. He was recommended
as a teacher by Haydn, Gyrowetz, and other dis-
tinguished persons, and was associated with Weber
and Meyerbeer, who were his fellow pupils and
lasting friends. With Weber he went to Mannheim
to assist him in his concerts, and later he was with
Weber in Prague, assisting him in his "Kampf und
S.'^j,"." In Vienna he became acquainted with Bee-

THE ORGAN AND ITS MASTERS III

thoven. He also served in the war of 1813, and
went to Italy as a captain in the army. Eventually,
on the death of Preindl, he applied for the position of
chapel-master in the cathedral at Vienna, and was
appointed, and held that post until his death in 1844.
His compositions number two hundred and sixteen,
of which a large number are sacred, but apparently
none are for organ alone.

One of the names most familiar to all organ stu-
dents is that of Rinck. Johann Christian Heinrich
Rinck was a native of Elgersburg in Saxe-Gotha
(1770). He became a pupil of Kittel, who was a
pupil of Bach, and at the age of nineteen he accepted
a post of organist at Giessen (in the duchy of Hesse),
his salary being fifty florins, about twenty-one dollars,
per annum. His life after this time was strange.
Unable to get much teaching, in addition to this paltry
pittance, he added to his music the work of a lawyer's
copyist. In 1792 he became usher at a school ; the
following year he was promoted to the situation of
writing-master ! And, in 1 803, his patience was re-
warded with the post of music-master at the College
of Giessen, From this time on, he was insured
against poverty ; and gradually rising, became court
organist at Darmstadt — at the head of his pro-
fession, beloved by all, and in the highest favour of
his prince.

Rinck will always be remembered as one of the

112 THE ORGAN AND ITS MASTERS

great players, and during his career he made many
artistic tours and gained many high honours, such
was the admiration his playing elicited. At Treves,
in 1827, he was treated with great honour; in 183 1,
he was made a member of the Dutch Society for the
Encouragement of Music ; in 1838, he was decorated
by the Grand Duke Ludvvig with the cross of the
first class ; in 1840, he was made Doctor of Philoso-
phy and Arts by the University of Giessen. A grand
fete took place at Darmstadt also in honour of
the fiftieth anniversary of his installation as court
organist. "It was a beautiful and interesting sight,"
writes Mr. Aspull, "to witness the homage paid
by all the elite of the town to this noble, good,
and worthy old man, whose modesty is only excelled
by the candour of his expressions." He was pre-
sented on this occasion, by the duke, with a superb
easy chair, a portrait of his Serene Highness, and a
tea-service in gold, accompanied by an autograph
letter as hearty as the recipient was worthy.

Sir Herbert Oakley says of him : " His reputation
is based on his organ music, or rather his 'Practical
Organ School,' a standard work. Rinck's composi-
tions for his instrument show no trace of such sub-
lime influence as might be expected from a pupil, in
the second generation, of Bach ; indeed, throughout
them fugue writing is conspicuous by its absence.
But without attaining the high standard which has

JOHANN CHRISTIAN HEINRICH RINCK

THE ORGAN AND ITS MASTERS II3

been reached by living composers for the instrument
in Germany, his organ pieces contain much that is
interesting to an organ student, and never degener-
ate into the debased and flippant style of the
French and English organ music so prevalent at
present " (1890).

Rinck's compositions were not confined to his
"Practical Organ School" and "Preludes for Cho-
rales," which are his best known works, but he wrote
a good deal of chamber music, and some church
music, including twelve chorales for men's voices,
two motets, and a Pater Noster, for four voices
with organ. Altogether his works number one hun-
dred and twenty-five.

There have been two celebrated organists named
Muffat. The first, George, was a Frenchman, and
studied Lully's style in Paris for six years. He was,
previous to 1675, organist of Strasburg Cathedral ;
he then visited Vienna and Rome. In 1690 he
became organist, and, five years later, chapel-master
and master of the pages to the Bishop of Passau, and
died there in 1704. Among his publications was
"Apparatus Musico-organisticus," — twelve toccatas,
chaconne, passacaglia, — which was of importance in
the development of organ-playing.

August Gottlieb Muffat was born about 1690,
and became a pupil of Fux. He became a distin-
guished organist and a composer of taste, and pub-

114 ^-^-^ ORGAN AND ITS MASTERS

lished for the organ " 72 Versetten oder Fugen,
sammt 12 Toccaten, besonders zum Virchendienst
bei Choral-Aemtern und Vespern dienlich."

Muffat became in 17 17 court and chamber organist
to the Emperor Charles VI. and the Empress Amalie
Wilhelmine. He died in 1770 at Vienna, but had
retired on a pension in 1764,

It is advisable now to take a glance at the develop-
ment of organ music, and for this purpose nothing
can be better than to take a few excerpts from the
detailed and exhaustive account of it written by
Philip Spitta. "The art of writing for the organ,"
he says, "which had been previously confined to a
mere ornamental transcription of vocal compositions,
in the beginning of the sixteenth century put forth
the early buds of a characteristic blossoming, with the
first traces of a style peculiar to itself. In Italy
Claudio Merulo found in the toccata, as it was called,
— a kind of composition in which he endeavoured to
give full play to the wealth of the tone possessed by
the organ, by alternating combinations of brilliant
running passages with sostenuto sequences of harmo-
nies, — a form which, if somewhat erratic and fantas-
tic, was still highly capable of development. The
first steps were taken toward the development of
the organ fugue in the canzone of Giov. Gabrieli ;
and Sweelinck, a Dutchman, gained great celebrity,
it would seem, particularly by his elaboration of the

THE ORGAN AND ITS MASTERS II5

technique, and by a great gift for teaching, and
endeavoured to make the heaviness of the organ
style Hghter and more pleasing by skilful and grace-
ful handling. Samuel Scheldt, the organist at Halle,
was one of his pupils. In his * Tablatura Nova,' he
first succeeded in treating the chorale as adapted
to the organ in a very varied manner, and with
considerable inventive power. ... A new path is
opened out, and abundant means are brought in
to level it ; but the practical precision and arrange-
ment are lacking which would give the full value to
each in its place. In the course of the century a
whole series of well defined, and in themselves logi-
cal forms, grew up for treatment of chorales. Only
a few of these are found in any degree pure in
Scheldt, and those the most obvious ; among them
must be included the method by which the chorale
is worked out line by line on the scheme of a motet,
and, closely connected with this, the chorale fugue,
in which Scheldt still clung evidently to the vocal
style."

A great deal of discussion is given to Johann
Christoph Bach, of whom Spitta says : " Following
his natural bent, he pursued his own path through
this department of music, and, so far as we are now
able to judge, never departed from it. The next
generation knew him no more, — did not understand
him, and ignored him altogether. . . . All that he

Il6 THE ORGAN AND ITS MASTERS

thus created in his isolated position is found, after
due consideration, to be neither unworthy of his great
talents nor in any contradiction to the praise awarded
to him, even as a master of the organ, by the later
and greater members of his family. But one single
man cannot do everything, and Johann Christoph is
a striking instance of how much we owe to the Ital-
ians, even in that most German of all forms of music,
the organ chorale. A yearning after an ideal thought-
fulness, profound care for details, — these there was
no need to borrow from foreigners ; but the sense of
beauty as revealing itself in the frankest and grand-
est forms was needed to sustain and invigorate us
ere we could create anything truly masterly. Such
succour soon came flowing in from the South. The
organ with its echoing masses of chords, produced
by one man, and progressing at his sole will and
pleasure, was the most complete conceivable contrast
to the ancient chorale music, that rich and compli-
cated tangle of so many individual voices which could
never altogether become mere instruments. This,
more than anything else, brought about the transfor-
mation from the old polyphonic to the new harmonic
system. It may, perhaps, seem strange to many
readers, and yet it is quite natural, that even the
best masters, between 1650 and 1700, showed a
much more homophonic spirit, a much more inde-
pendent treatment of the vocal parts than is com-

THE ORGAN AND ITS MASTERS I 17

patible with the pure organ style, according to our
modern conception of it. Of course the rigid and
heavy quality of the organ does not require for its
highest idealisation mere external movement, — as
attained by runs and spreading of chords, — but an
inner vitality from the creation of musical entities, —
for what else can we call melody and motive ? — and
by their intelligent reciprocity. But this is always a
secondary, and not, as in polyphonic vocal music,
a primary consideration. We admire with justice
the organic structure of an organ piece by Sebastian
Bach, every smallest detail of it instinct with vital
purpose ; but the so-called polyphonic treatment,
which clothes the fine harmonic structure, is but
a beautiful drapery. It resembles a Gothic cathe-
dral, with its groups of columns that seem a spon-
taneous growth, and its capitals wreathed with flowers
and leaves ; they call up to our fancy the seeming of
an independent life, but they do not live, only the
artist lives in them. This radical distinction cannot
be sufficiently insisted on ; without a comprehension
of it, the whole realm of organ music is an independ-
ent art, and all that has any connection with it,
including the whole of Sebastian Bach's work, cannot
be understood."

After a lengthy discussion of Job. Christoph
Bach, Spitta proceeds to show the influence of
Pachelbel, who, "in the last twenty years of the

Il8 THE ORGAN AND ITS MASTERS

seventeenth century, helped above all others to ad-
vance the art of organ music," and we may well
quote that portion which leads up to the analysis
of Pachelbel's compositions.

** His constant changes of residence between
South and Central Germany had an essential effect
on Pachelbel's art, by giving rise in him to the
amalgamation of various tendencies. The style of
chorale treatment which was chiefly practised in
Thuringia and Saxony found in the skeleton of the
church hymn a form offering, it is true, a poetic
rather than a musical unity ; but it ran the risk of
being decomposed by such handling into incoherent
fragments. With that feeling, so especially char-
acteristic of Italy, for grand and simple forms,
toward which the very being of the organ pointed,
and in far more favourable circumstances, Italy and
South Germany, under direct Itahan influence, had
far outstripped North Germany in the art of organ
music. Frescobaldi, organist to the church of St.
Peter at Rome, had, so early as in the first half of
the century, risen to a height of mastery which, in
certain points, — for instance, in the skilful contra-
puntal treatment of a cantus firrnus, — was scarcely
surpassed by any Catholic organ-master of later date.
In the toccata, by careful elaboration, a form had at
last been worked out which contained in itself nearly
all that the art had then achieved — fugues, free imita-

THE ORGAN AND ITS MASTERS 1 19

tions, brilliant ornamental passages, and the mighty
flow of chord progressions. This summit . . . had
been reached by the end of the century ; what re-
mained to be done it was beyond the powers of the
Catholic organists to achieve. The motive supplied
by the Protestant chorale was lacking to them ; the
Gregorian chant, which Frescobaldi handled so effi-
ciently and effectively for the organ, founded as it
was on solo declamation and the church modes, was
opposed in its very essence to that richer develop-
ment in the new harmonic system, by which alone
the full expansion of instrumental music became pos-
sible. In the Protestant chorale, on the contrary,
that fresh and native growth from the heart of the
people, organ music was destined to find the natural
element which the Roman nationalities could not
supply to it, that pure and unsophisticated essence
which penetrated and invigorated all its branches.
Nor was it merely an abundant flow of new melodic
inventions that sprung from this source : quite new
forms of art grew on and from it ; an undreamed-of
wealth of harmonic combinations was discovered, and
possibilities of instrumental polyphony hitherto un-
known. Pachelbel carried these achievements of the
South into the heart of Germany, took possession of
the elements he there found ready to his hand, and
from the two constructed something newer and finer.
Nowhere better than in Thuringia could his genius

120 THE ORGAN AND ITS MASTERS

have met with men capable of welcoming it with
unbiassed minds, and with a greater capacity for
furthering it on its way. From this time forth the
focus of German organ music lay undoubtedly in
Central Germany ; the South fell off more and
more ; the North, with Dietrich Buxtehude at its
head, preserved its position somewhat longer, and
even constructed a certain chorale treatment of its
own, which, however, lagged far behind that of
Central Germany in variety and depth."

CHAPTER VII.

ENGLISH ORGANISTS OF THE EIGHTEENTH CENTURY

Returning to England, the first of the celebrated
organists who was born in the eighteenth century
was Doctor William Boyce, a native of London.
Born in 1710, he became a chorister at St. Paul's
Cathedral, and on leaving the choir was articled to
Maurice Greene, at that time organist of the cathe-
dral. His first position as organist was at Oxford
Chapel, Vere St., London, and while here he contin-
ued his studies under Doctor Pepusch. In 1739 he
became organist of St. Michael's, Cornhill, and in
the same year was appointed composer to the Chapel
Royal, in which office he distinguished himself by
writing many fine anthems, which are still used.

In 1737 Boyce was appointed conductor of the

festival of the three choirs, Gloucester, Worcester,

and Hereford, which post he held until 1745, and

four years later he became organist of All Hallows,

Thames Street, and in the same year took his degree

of Doctor of Music at Cambridge.

121

122 THE ORGAN AND ITS MASTERS

In 1755 he succeeded Doctor Greene as master
of the kmg's band of music, and conductor of the
festivals of the Sons of the Clergy, held annually
at St, Paul's Cathedral. On the death of John
Travers, in 1758, Doctor Boyce became organist to
the Chapel Royal, resigning his other organ positions.

From his youth Doctor Boyce had suffered from
deafness, and now his infirmity obliged him to give
up teaching. He therefore turned his attention to
the work which has added greatly to his fame, viz.,
the compiling of his three volumes of Cathedral
Music, one of the most valuable collections in
existence.

Boyce's style was massive, dignified, and impres-
sive, and his anthems are considered equal to any-
thing in the whole repertory of cathedra] music.
He has been regarded by competent critics as one
of the last of a race of English church composers
possessed of power and individuality of character
sufficiently well marked and well set as to enable
them to resist certain meretricious influences from
without. Most of those that followed in the next
generation seemed moved to utter second-hand
thoughts in a second-hand manner, so that in
sheer despair of obtaining anything that might be
counted as truly worthy of the church service, men
looked abroad, and instead of studying to make
themselves equal to the effort of continuing the

THE ORGAN AND ITS MASTERS 1 23

traditions of the elders, tinged with more modern
knowledge, they set themselves to work to adapt
compositions not originally intended for church use
to words that might give a colourable pretext for
their introduction into church.

A name which may not be exactly appropriate
here, and yet which cannot well be left out, is that
of Doctor Pepusch, who was very prominent in Eng-
lish musical matters for many years, and who was
organist, for a time, to the Duke of Chandos, the
position afterward filled by Handel,

John Christopher Pepusch was born in Berlin,
where his father was a Protestant clergyman. His
musical talent was early developed, and at the age of
fourteen he received an appointment at the Prussian
court, which he held for sixteen years, at the same
time devoting himself to the study of Greek, and
becoming a skilled theorist. An unpleasant incident
— seeing the summary decapitation of an officer with-
out trial — made him feel the desirability of getting
away to some place where heads were safer, and he
went to Holland, and thence to England, arriving in
London about the year 1700. He took his degree
at Oxford in 171 3, and was prominent in the estab-
lishment of the Academy of Ancient Music, and in
most of the musical doings of the times, — operatic,
theatrical, etc. He wrote a treatise on harrnony, and
married Marguerita de I'Epine, the celebrated singer,

124 ^^^ ORGAN AND ITS MASTERS

and was frequently mentioned by Samuel Pepys in
his immortal " Diary."

In 1737 Doctor Pepusch was appointed organist
of the Charter House, and retained that post during
the remainder of his life, which ended in 1752.
Doctor Pepusch was profoundly skilled in musical
science, and was the teacher of such men as Travers,
Boyce, and Cooke.

At one time he set out for the Bermudas, to estab-
lish a school of music, but soon after leaving port
the ship was wrecked, and on reaching dry land, he
decided to remain there. His marriage shortly after-
wards to the songstress who brought him a fortune,
no doubt confirmed his determination to stay at
home.

A very remarkable organist was John Stanley,
born in London in 1713, who became blind, by acci-
dent, at the age of two. He began to learn music
when seven years of age, and his talent developed so
rapidly that in 1724, when only eleven years old, he
was appointed organist at All Hallows, Bread Street,
and two years later of St. Andrew's, Holborn. In
1729 he took degree of Mus. Bac. at Oxford, and
in 1734 he became one of the organists of the
Temple Church. He succeeded Doctor Boyce as
master of the king's band of music in 1779, and
died in 1786. He wrote a good quantity of music,
amongst which were thirty-six organ voluntaries. He

THE ORGAN AND ITS MASTERS 1 25

appears to have been a very active man, for he asso-
ciated himself with J. C. Smith in carrying on the
oratorio performances formerly conducted by Handel.
Burney says of him that he was "a neat, pleasing,
and accurate performer, a natural and agreeable com-
poser, and an intelligent instructor."

John Alcock, born in London in 171 5, was a pupil
of Stanley, though but two years his junior. After
several appointments in different places, he became
organist, master of the choristers, and lay vicar of
Litchfield Cathedral, but resigned the two former
offices in 1760, retaining that of lay vicar. He died
at Litchfield at the age of ninety-one. Alcock is
regarded as a good musician who would not degrade
his art to gratify the popular taste.

Doctor Nares, born at Stanwell, Middlesex, in
1 71 5, was a chorister in the Chapel Royal, and after-
ward a pupil of Doctor Pepusch. He acted for a
time as deputy organist at St. George's Chapel,
Windsor, but in 1734 was appointed organist of
York Minster. In 1756 he became organist of the
Chapel Royal, succeeding Doctor Greene, and he
died in 1783. He did not distinguish himself as a
composer.

Doctor Charles Burney was more celebrated as a
musical historian than as an organist ; nevertheless,
as he did hold various positions as organist and as
he was an important man in musical history, he should

126 THE ORGAN AND ITS MASTERS

be mentioned here. He became a pupil of Doctor
Arne, and organist of a church in Fenchurch Street,
London, in 1 749, but two years later, being threatened
with consumption, he accepted a position as organist
at Lynn-Regis, Norfolk, where he remained for nine
years and regained his health. He now returned to
London and entered actively into the musical life of
the city, but in 1770 he set forth on a tour of the
Continent, in search of material for his history of
music. During this first journey he visited the south
of Europe, publishing an account of his journey on
his return. He then set out on a tour of the Nether-
lands and Germany.

His history of music was published in four vol-
umes, the first appearing in 1776 and the last in
1789.

In the same year Doctor Burney was appointed
organist at the Chelsea Hospital, and passed the
remaining twenty- five years of his life in that place.
He was a man of high attainments, exemplary char-
acter, spirited and gentlemanly manners. He died
in 18 14. Among his compositions were six cornet
pieces with introduction and fugue for the organ.

Thomas Saunders Dupuis, born in England of
French parents, was one of the best organists of his
time (1733-1796). As a boy he was a chorister in
the Chapel Royal, and on the death of Doctor Boyce
m 1779, Dupuis succeeded him there as organist.

THE ORGAN AND ITS MASTERS 127

Although he composed a quantity of church music
which was published, none of it was ever reprinted.

Jonathan Battishill, born in London in 1738, was
one of the choristers of St. Paul's Cathedral, and
became deputy organist for Doctor Boyce at the
Chapel Royal. He was a good composer both of
church and secular music, and was known as one of
the most remarkable extempore players of his day,
and a most accomplished organist. His memory was
prodigious, and he could not only play a piece which
he had read through carefully once, but could at any
time afterward recall it with slight effort of memory.
It is said that he once played to Doctor Arnold the
greater part of his oratorio, " The Prodigal Son," which
the author had nearly forgotten, and this without
ever having seen the work, but having only heard it
twice some thirty years previously.

Battishill was twice married, and survived his
second wife some twenty-five years. He died at
the age of sixty-three, and was buried in St. Paul's,
near to Doctor Boyce.

Doctor Samuel Arnold, born in London in 1740,
held many important positions, and was an active musi-
cian and prolific composer. He was organist of West-
minster Abbey in 1793, succeeding Doctor Cooke,
and three years later became conductor of the annual
benefits for the Sons of the Clergy at St. Paul's.
He was also appointed, in 1789, conductor of the

128 THE ORGAN AND ITS MASTERS

Academy of Ancient Music, which institution was
then in its dechne.

Doctor Arnold devoted the greater part of his
energies to the stage, and composed several operas
which became popular upon both sides of the Atlan-
tic, but in church music he is remembered chiefly on
account of his collection, which was a continuation of
that made by Doctor Boyce. He wrote several ora-
torios and anthems, but they were not remarkably
successful. Doctor Arnold died in 1802, and was
buried in Westminster Abbey.

A long period elapsed between Arnold, and Att-
wood and Wesley, who were the next organists of
great talent in England. There are, nevertheless,
several names worthy of mention. The family of
Corfe, for instance, and that of Camidge. Doctor
Busby, John W. Callcott, and Bcckwith were all men
of ability.

Joseph Corfe was born in 1740 at Salisbury, and
became organist of Salisbury Cathedral. His son,
Arthur Thomas, born in 1773, was organist and
choir-master of the same cathedral, being appointed
on the resignation of his father. He died in 1863, at
the age of ninety. His son, Charles William, became
organist of Christ Church, Oxford.

John Camidge, born about 1735, was organist of
York Cathedral from 1756 until the time of his
death in 1 803, — forty-seven years, — when his son

THE ORGAN AND ITS MASTERS 1 29

Matthew was appointed to the position thus made
vacant. Matthew died in 1844, when his son John
succeeded him in the same position, and the great
organ, which was one of the largest in England, was
built under his supervision. He died in 1859, when
the position had been held in the family for a period
of a hundred and three years.

Doctor Busby, born in 1755, at Westminster, is
best known by his writings on musical subjects,
especially his " Dictionary of Music " and his " His-
tory of Music," He was an excellent scholar, and a
man of great industry.

John Wall Callcott was the son of a bricklayer of
Kensington, a suburb of London, and prosecuted his
musical studies largely without the aid of a master.
By dint of indomitable perseverance he succeeded in
carrying off several prizes for glees, catches, etc., one
of which was a catch with the words " Have you Sir
John Hawkins' History.?" When Haydn visited Eng-
land in 1790, Callcott took some lessons of him in
composition. He was appointed to succeed Doctor
Crotch as lecturer on music at the Royal Institution,
and eventually his exertions impaired his health and
resulted in the loss of his mind. As an organist he
held good appointments, but none of the great ones.

Thomas Attwood was born in 1767, and became a
chorister of the Chapel Royal. On account of his
talent he was sent, at the age of sixteen, to Italy,

I30 THE ORGAN AND ITS MASTERS

and after two years* study at Naples, he proceeded
to Vienna, where he became a pupil of Mozart. In
1787 he returned to England, and entered upon what
proved to be a distinguished career. He was a mem-
ber of the king's band, and soon became music
teacher of the Duchess of York and the Princess
of Wales. In 1795 he became organist of St. Paul's
Cathedral, and in the following year composer to the
Chapel Royal, of which church he became organist in
1836. He died in 1838.

During the early part of his career he wrote much
and successfully for the stage, but later he devoted
his attention to church music, and wrote many fine
anthems.

Attwood was one of the first among English mu-
sicians to recognise the talent of Mendelssohn, who
stayed at his house when in England and who dedi-
cated to him three preludes and fugues for the
organ.

Samuel Wesley, born February 24, 1766, on the an-
niversary of the birth of Handel, was undoubtedly
the greatest EngHsh organist of his time, and was un-
rivalled both for his extempore playing and for his
performance of the fugues of Bach and Handel.
Though not quite as precocious as his older brother
Charles, whose musical instinct is said to have made
itself manifest when he was two years and nine
months old, Samuel was not far behind. He is

THE ORGAN AND ITS MASTERS I3I

said to have been three years old before he could
play a tune. In this particular he was three months
behind his older brother, but Charles could always
put a true bass to his tune, while Samuel did not
acquire this accomplishment until he had learned his
notes. Samuel, however, made up for the delay by
composing an oratorio named " Ruth " when about
eight years old, and this oratorio is said to have met
with the approval of Doctor Boyce.

When twenty-one years of age he met with an
accident which seriously affected him throughout his
life, and caused him to abandon his profession tem-
porarily several times. He fell into a deep excavation
and injured his skull.

Samuel Wesley was one of the most enthusiastic
admirers of the works of Bach, and published an edi-
tion of the " Wohltemperirte Clavier," besides which
he promoted the publication of an English version of
Forkel's life of Bach.

His last active appearance was at Christ Church,
Newgate Street, on September 12, 1837, on which
occasion he had gone to hear Mendelssohn play the
organ, and was himself prevailed upon to perform.
This is interesting because there are so few accounts
of Mendelssohn's organ-playing, Wesley wrote a
dozen organ concertos, and a large number of vol-
untaries. He died in 1837, a month after the organ
recital above mentioned.

132 THE ORGAN AND ITS MASTERS

Wesley's enthusiasm over the works of Bach
prompted him to labour energetically in order to prop-
agate a knowledge of them amongst English musi-
cians, and during the years 1808 and 1809 his efforts,
in part, took the form of a series of letters addressed
to Benjamin Jacob. These letters were edited and
published in 1875 by Wesley's daughter, and they
bring Benjamin Jacob into a prominence for our pur-
poses which he could not have received on account
of his compositions, which were trifling, or of his
holding a prominent position. Jacob was organist of
several churches at various periods, but that with
which he was longest connected, and in which he
passed the most active period of his life, was the
Surrey Chapel. Gradually he became more and
more distinguished as one of the best organists of
his day, and he enhanced his reputation by giving, at
the Surrey Chapel, beginning in 1808, a series of
performances of airs, choruses, and fugues played
upon the organ alone, without any interspersion of
vocal pieces — in short, he gave regular organ re-
citals. In all probability it was this enterprise which
led Wesley to write the series of letters already men-
tioned. In 1809, Wesley and Jacob gave an organ
recital at the Surrey Chapel, in which they played
alternately some of the fugues of Handel and Bach,
as well as other pieces. In later years Jacob gave
similar performances in conjunction with Doctor

THE ORGAN AND ITS MASTERS 1 33

Crotch. In consequence of Jacob's artistic efforts,
he became an authority on matters pertaining to the
organ, was often called upon to open new organs, and
to act as judge in the selection of organists. He left
the Surrey Chapel in 1823, and died in 1829. His
death was hastened by a controversy with his former
rector.

Before leaving the name of Wesley, although he
belongs to a generation later than that which we are
now dealing with, and brings us down to compara-
tively recent times, it may be well to review Samuel
Sebastian Wesley, the third son of Samuel, and the
inheritor of his genius.

Samuel Sebastian Wesley was born in 18 10, be-
came chorister at the Chapel Royal in 1824. Three
years later he was appointed organist at St. James's
Church, Hampstead Road. Two years later he be-
came organist of two other churches, and held all
four positions at the same time. In 1832 he became
organist of Hereford Cathedral, in 1835 Exeter
Cathedral, and in 1842 Leeds Parish Church. In
1849 he was appointed organist at Winchester Cathe-
dral, a position to which he was drawn in the inter-
ests of the education of his sons. After fifteen
years' enjoyment of this connection, he was ap-
pointed to Gloucester Cathedral, and thus became
conductor of the Three-Choir Festivals. During his
incumbency of the Gloucester position he received

134 ^^^^ ORGAN AND ITS MASTERS

a pension of ;^ioo per annum from the government
for his services to church music, an honour highly-
deserved, for, in a time when church music was in
a bad condition, his high standard and example did
much to restore it to its ancient prestige. As a com-
poser, his fame rests chiefly upon a volume of twelve
anthems published in 1854. For the organ alone he
wrote several pieces, but as a performer he held a very
high reputation, and for many years was considered the
finest player in England. His extempore playing was
something long to be remembered, and many organ-
ists who heard him changed their style for the better,
some of them catching a ray of the afflatus divimis
which as an organist may be fairly ascribed to him.

In 1 844 Wesley was a candidate for the professor-
ship of music at Edinburgh University, which was
made vacant by the resignation of Sir Henry Bishop.
He was not appointed, but one of his testimonials,
written by Spohr, gives a concise estimate of his
standing as a composer : " His works show without
exception that he is master of both style and form of
the different pieces of composition, and keeps himself
closely to the boundaries which the several kinds de-
mand, not only in sacred art, but also in glees and in
music for the pianoforte. His sacred music is chiefly
distinguished by a noble, often even an antique style,
and by rich harmonies as well as by surprisingly
beautiful modulations."

THE ORGAN AND ITS MASTERS 1 35

Wesley died in 1876, and was buried at Exeter.
No organist is regarded with greater reverence by
those who remember him,

Wilham Crotch (i 775-1 847) was a musical
prodigy, who failed to fulfil the exalted expectations
of his early admirers, but nevertheless occupied a
prominent place among organists in England. The
expectations appear to have been based upon the
fact that at the age of two and a half or less, he
evinced a strong desire to play upon an organ which
his father had built, and on being placed before it he
played a tune which was pronounced to be some-
thing like *' God Save the King." Soon afterward
he was able to add a bass to it, and then to play
other tunes, and at the age of fourteen he produced
an oratorio which was performed at Cambridge. In
1780, when he was only five years old, he was taken
to London, and gave some public performances on
the organ. In 1786 he went to Cambridge, and
became assistant to Doctor Randall, who was organ-
ist of Trinity and King's Colleges, and Great St.
Mary's Church, as well as professor of music at the
university.

The organ appointments of Doctor Crotch were
all connected with the University of Cambridge, and
in 1797 he became professor of music to the univer-
sity. Doctor Crotch was appointed lecturer at the
Royal Institution in 1820, and two years later, on

136 THE ORGAN AND ITS MASTERS

the establishment of the Royal Academy of Music,
he was made principal of it. His reputation as a
teacher was very high. Doctor Crotch wrote several
anthems, some fugues and concertos for the organ,
and more or less secular music.

Another good English organist was Thomas
Adams (i 785-1858), who at the age of seventeen
was appointed organist of the Carlisle Chapel, Lam-
beth. Subsequent to this he held at various times
the post of organist at St. Paul's, Deptford, St.
George's, Camberwell, and St. Dunstan in the West,
Fleet Street, holding the two latter conjointly until
his death.

For a period of more than a quarter of a century
Adams was very prominent as a performer on the
organ, and his services were in constant requisition
by the organ-builders to exhibit their instruments
prior to their removal from the factory to their desti-
nation. One of these occasions is mentioned by
Moscheles, who heard him try two new organs built
by Gray, one for Belfast and the other for Exeter
Hall, and admired exceedingly the finished execution
and extempore playing of the organist. Adams ex-
celled in both the strict and free styles, and he pos-
sessed a remarkable faculty for improvising, in which
art he showed great contrapuntal skill. He also
composed many organ pieces, fugues, voluntaries,
ninety interludes, and several variations on popular

THE ORGAN AND ITS MASTERS 1 37

themes. Adams for many years superintended the
performances on the Apollonicon, a celebrated in-
strument built by Flight and Robson, and having
both barrel and keys. The Apollonicon was kept
on exhibition for about a quarter of a century, and
was considered a very remarkable instrument in its
day. A full account of it can be found in Grove's
Dictionary.

CHAPTER VIII.

MODERN CONTINENTAL ORGANISTS

During the nineteenth century organ-playing seems
to have become more popular in other countries than
in Germany. The German builders have been very
conservative, and have been left far behind in the
race for improvement by the French, Enghsh, and
Americans. Although the Germans were early to
adopt the pedal keyboard, they were very far behind
in their adoption of the " swell-box," and their ideal
organ was an instrument suitable for the proper per-
formance of Bach's fugues. In Germany, too, the
organ has been a church, and not a concert instru-
ment, while in England, France, and America the
** organ concert " or "organ recital," on organs placed
in concert halls, has given an impetus to playing
which, while it has done much to develop both the
instrument and the performer, has also developed
certain undesirable features — undesirable at least in
the eyes of those who wish the organ to maintain its
sacred character. To many minds the playing of
opera overtures upon the organ is but a degree less

138

THE ORGAN AND ITS MASTERS 1 39

shocking than the incident of the French Revolu-
tion, when Sejan was made to play dance-music on
the organ of Notre Dame.

Germany remains the home of intellectual music
for the organ, while the French excel in the lighter
vein, and incline toward the sensational.

Of German organists since Bach, Schneider has
been regarded as one of, if not quite, the greatest.

Johann Gottlob Schneider was born at Alt-gersdorf
in 1789. His musical talent developed at a very
early age, and when twenty-two years old, after hav-
ing studied organ with Unger of Zittau, he was
appointed organist of the University Church at Leip-
zig. In the course of a few years he became known
as a player of the highest rank, and he gave many
concerts in Saxony and elsewhere. In 1825 he
played at the Elbe Musical Festival held at Magdeburg,
and in consequence of his excellent performance was
appointed court organist to the King of Saxony, a
post which he held with honour and renown until his
death in 1864,

As a player of Bach, Schneider was considered as
the first authority of his day, and he possessed a
traditional reading of the organ works of that great
master, with all of which he appeared to be acquainted.
His grand extempore preludes to the opening chorales
at the Lutheran church at Dresden were a great at-
traction for all musical visitors, and on those occasions

140 THE ORGAN AND ITS MASTERS

that particular form of improvisation which has been
made a special study and feature in Germany since
the time of Bach, might be heard to the greatest
advantage.

As a teacher the elevation and dignity of his style,
the exclusion of everything derogatory to the instru-
ment, and his reverence and enthusiasm for the great
music he delighted to teach, combined, with other
qualities, to place him in the front rank. It was his
custom to play any composition of Bach which the
pupil might ask to hear, at the end of each lesson,
thus giving invaluable instruction as to tempi, regis-
tration, etc.

Schneider left very few published works, but they
are masterly. One of these is an "answer of thanks "
for a " Jubel-Album fiir die Orgel," containing about
thirty original pieces, all in classic form, by his best
pupils. This album was presented to him in 1861,
on the fiftieth anniversary of the beginning of his
artistic career, and the seventy-third of his birth.
Among the contributors were Topfer, Van Eyken,
Faisst, Fink, Herzog, Merkel, E. F. Richter, Schellen-
berg, Liszt, A. G. Ritter, Schaab, Hering, Naumann,
Schurig, and Schutze, who was the editor. There
were seven hundred and fifty subscribers, amongst
them being the king and royal family of Saxony.
His answer of thanks was in the form of a fugal treat-
ment of " Nun danket alle Gott."

THE ORGAN AND ITS MASTERS 141

An excellent account of Schneider and his organ-
playing was given by Henry F. Chorley, the musical
critic, who paid a visit to the great organist at his
home in Dresden, — an account well worth reproduc-
ing : " His simple and hearty welcome, and his homely
and intelligent features, on which a smile sits more
at its ease than on many countenances far more
regularly agreeable, — in short, the appearance, air,
and abord (as the French say) of the man, had the
welcome familiarity of old acquaintanceship. It was
late in the day when I paid my visit ; and he had
been occupied with his usual avocations since the
lark's hour of rising. But when I told him how short
the duration of my stay in Dresden must be, he sent
for the keys of the church and his bellows-blower, as
if he was doing the most natural thing instead of the
greatest favour imaginable, without any superfluous
words between us. Indeed, profuse thanks would
have suited ill with his hearty plainness of manner,
and we were out of the house, and on the road to
one of the rarest musical pleasures I ever enjoyed, as
if we had known one another ' in the body ' for
years, within ten minutes of his breaking the seal of
's friendly letter. . . .

"Those who treat organ-playing as 'a black busi-
ness,' to which they bend themselves with frowning
brows, and coat-sleeves turned up half-way to the
shoulders, — the school of kickers, and swingers to

142 THE ORGAN AND ITS MASTERS

and fro, who make much exertion cover up very Httle
skill, — might have taken a lesson from this admirable
artist, whose hands, as they glide away over the keys
(^worked axvay' is the established phrase), were
bringing out into their fullest glory all those mag-
nificent chains of sound, — all those replies, and sus-
penses, and accumulations, which, with a calm but
never-tiring munificence, the noble old cantor of
the Thomas-Schule has lavished upon his composi-
tions. Perhaps a finer specimen of these does not
exist than in the fugue in E minor, with which Herr
Schneider next indulged me, where the subject, spread-
ing in the form of a wedge, offers such excellent
scope for the amplification of science and the arrange-
ment of climax, I withdrew to the further corner of
the gallery, where the twilight was now fast sinking,
and while listening to this marvellous performance,
lost the personality both of the composer and the
performer, more completely perhaps, than I have
ever done. It was neither Bach nor Schneider : the
building was filled to running over with august and
stately music, and the old childish feeling of mystery
and delight which, in the days when I was sparingly
admitted to the acquaintanceship of any instrument
whatsoever, the gigantic sounds of the organ used to

awaken in me, came back as if I had been only

years old.

"After one or two more glorious displays of entire

THE ORGAN AND ITS MASTERS 1 43

mastery over the key and pedal-board, ' It is too
dark for us to see any more of Bach,' said my hberal
host, ' so you must excuse what I am going to do,'
and with that struck off at once into an improvisation
of rare beauty of figure, and affluence of device.
The subject was not at all a recondite one, — simple
and bold, and at first I fancied a little dryly treated :
what, indeed, is there that would not sound so after
the unfoldings of Bach ? But whether the admirable
artist was excited by the keen relish I showed, or
whether it is the nature of such powers as his to
sustain and to excite themselves, as he went on the
depth of his science was surpassed by the brilliancy
of his fancy. It was the work of one hand to draw
and close the stops which were wanted by the play
of his imagination, a matter, of course, in which he
could receive no help. But he ministered to himself
with such a wonderful promptness and agility of
finger, that the changes of hand from the keyboard
to the register were never felt, while so subtly were
they combined and alternated, as to be totally clear
of producing that piecemeal effect in which the
fantasy work of common organists so often ends,
from a want of a like judgment in combination. Till
then the remarkable mental energy demanded for an
exhibition like this never struck me in all its fulness.
And yet, not only must the performer originate
thoughts, but, by new and happily successive ad-

144 ^-^^ ORGAN AND ITS MASTERS

mixtures, contrive effects totally beyond the reach
of him who has only before him the plain and im-
movable keys of a pianoforte. Taken merely in its
most matter-of-fact sense, as a display which proved
nothing, here were memory, combination, prompti-
tude, invention, and mechanical skill united. I may
be laughed at, but I could not help imagining that
the exercise of a power at once implying thought,
self-mastery, and a patient use of physical strength,
could hardly have been carried to so high a perfec-
tion without its favourable moral influences ; and if
that were so, herein, and not from their being erected
in churches, might lie the superior sacredness of
organs beyond other instruments — herein the holi-
ness of the performance of the music written for
them."

The next morning Mr. Chorley attended the ser-
vice at the Sophienkirche and enjoyed another
exhibition of Schneider's skill, which he describes as
follows : " He had warned me that the plain Lutheran
service forbade his exercising his craft with anything
like fantasy, but I would not have exchanged what I
did hear for the most elaborate performance which
hands and feet in concord could have completed.
Before the service commenced to an ample congrega-
tion, he treated us to a brief prelude on the full
organ, of great majesty and brilliancy, as clear in
design and as symmetrical in elaboration as though

THE ORGAN AND ITS MASTERS I45

it were an impromptu fait d loisir. Then, while
accompanying the psalms, — five or six of which were
most admirably sung by a choir of eighteen boys and
young p-en, — the extent of resource brought by
him to bear on a prosaic and inferior task (as a
second-rate player might choose to esteem it) was to
me little less astonishing than the force he had
shown in mastering the difficulties of Bach, The
interludes between the verses were substantially and
solidly dignified, yet sufficiently rich in ideas to set
up for a twelvemonth some of the renowned im-
provisers I have heard, while the artful and unex-
pected management of the stops, so as to produce
every variety of crescendo and diminuendo, entirely
precluded the occupation of the swell. Though I
stood close by, I was unable, from a want of familiarity
with the manipulations of the instrument, and the
rapidity with which the changes were executed, to
take any note of the successions and mixtures of
stops employed."

A biographical sketch of Mendelssohn would be
out of place and quite unnecessary here, but some-
thing may be said of him as an organ-player and
composer. In searching the biographies of Mendels-
sohn it is surprising to find how little mention is
made of his organ playing, and yet we are told that
when he was in England his organ-playing was
watched with great interest, " for he was the greatest

146 THE ORGAN AND ITS MASTERS

of the few great German organ-players who had
visited this country (England), and the English or-
ganists, some of them no mean proficients, learned
more than one lesson from him."

In 1837, on September 10, Mendelssohn played
the organ at St. Paul's Cathedral. It was on a
Sunday afternoon, and such was the effect of his
playing that the congregation would not leave, and the
verger withdrew the organ-blower and let the wind
out of the organ in the midst of Bach's prelude
and fugue in A minor. Two days after this, on
Tuesday, September 12, Mendelssohn played at
Christ Church, Newgate Street, in the morning. He
was on this occasion in a particularly good vein, and
played six extempore fantasias, one on a subject
given at the moment. He also played the Bach
prelude and fugue which had been so ruthlessly
strangled on the previous Sunday. It was on this
occasion that Samuel Wesley was present, and
played. He was then seventy-one years of age, and
died a month later.

It would be unnecessary to quote at length the
opinion of Doctor Gauntlett, who wrote an account of
these performances in the Musical World, but a
few of his essential and less technical points may
well be used :

" It was not that he played Bach for the first time
here — several of us had done that. But he taught

THE ORGAN AND ITS MASTERS I47

US how to play the slow fugue, for Adams and others
had played them too fast. His words were, ' Your
organists think that Bach did not write a slow fugue
for the organ.' Also he brought out a number of
pedal fugues which were not known here. . . . One
thing which particularly struck our organists was the
contrast between his massive effects and the light-
ness of his touch in rapid passages. The touch of
the Christ Church organ was both deep and heavy,
yet he threw off arpeggios as if he were at the
piano. His command of the pedal clavier was also
a subject of much remark."

After this he went to Birmingham for the festival,
and during that period he played the organ at the
evening concert of Tuesday, September 19, when
he extemporised upon the subject of his fugue from
*' Your harps and cymbals " (Solomon), and the first
movement of Mozart's Symphony in D, both of
which he had conducted earlier in the day. On the
following Friday morning he played Bach's prelude
and fugue in E-flat (St. Anne's). Again in 1840
he went to Birmingham to conduct the festival, and
played the organ on several occasions both in private
and in public, and on all these occasions he seems to
have caused wonder and delight, both by his playing
of Bach fugues and by his extemporising upon various
themes.

Adolph Friedrich Hesse, born at Breslau (1809-

148 THE ORGAN AND ITS MASTERS

1863), was the son of the celebrated organ-builder.
His talent was so conspicuous that the authorities of
tlie town of Breslau granted him an allowance suffi-
cient to enable him to go to Leipzig, Cassel, Ham-
burg, Berlin, and Weimar, in each of which towns he
played his own and other compositions, and during
his sojourn enjoyed the instruction and acquaintance
of Hummel, Rinck, and Spohr.

In 1 83 1 Hesse was appointed organist at the
church of the Bernardines, Breslau, which post
he retained until his death.

In 1844 he travelled to Paris. And in a criticism
in the Revue et Gazette Musicale, it is stated :
*' Hesse plays with his feet alone better than others
with their hands." In 1846 he visited Italy. In
1852 he went to England, where every one won-
dered at and honoured him, especially in the Crystal
Palace in London, the monster organ of which he
played in an extraordinary way. Returning to Bres-
lau, he spent the rest of his life in teaching, and his
fame was such that he had many visits from admirers.
He was director of the Symphony Concerts at Bres-
lau. His " Practical Organist," containing twenty-
nine pieces, is a widely known work, but he wrote
also many works for the organ, besides other music.

" Karl August Haupt was born in Kunern, Silesia,
August 25, 18 10. His musical studies were directed
by A. W. Bach, Bernard Klein, Siegfried Wilhelm

THE ORGAN AND ITS MASTERS 1 49

Dehn, and somewhat later by Friedrich Johann
Schneider and Johann Gottlob Schneider. He made
such marked progress that, at the age of twenty-two,
he received an appointment at the French Convent
in Berhn. Not yet satisfied, and struggHng with
poverty, he continued his progress till, in 1849, he
succeeded Louis Thiele in the parish church of that
city,

"His reputation spread abroad, and many organists
visited Berlin to hear his remarkable execution and
his fine improvisation in the style of J. S. Bach.

"In 1854 he was consulted by a number of Eng-
lish organists, who were appointed a committee to
draft the plans for a large organ for the Crystal Pal-
ace, near London. In 1870 he was elected director
of the Konigliche Hochschule fiir Kirchenmusik in
Berlin, succeeding' his old master, Bach, which posi-
tion he held till his death, July 4, 1 89 1 .

" When Professor Haupt was in the prime of life,
his performance of the organ music of Bach, Men-
delssohn, and Thiele was remarkable for its clear-
ness, breadth, and absolute accuracy. His personal
acquaintance with Mendelssohn and Thiele created a
special fondness for their music, though, in his later
years, with the decline of his youthful vigour, he
rarely played any concerted music, confining himself
to extempore playing, and frequently calling Thiele's
music 'furchtbar schwer^

I50 THE ORGAN AND ITS MASTERS

"In 1883 Professor Haupt told me' that over a
hundred and fifty American organists had studied
with him, among whom he mentioned Eugene
Thayer, George W. Morgan, Clarence Eddy, J. K.
Paine, Arthur Bird, and Philip Hale. He said he
was 'always pleased to have American pupils, as they
worked with so much determination and energy.'

" I have many fond recollections of my early morn-
ing lessons with him, when he would meet me at the
old Parochial Kirche on Kloster Strasse, take out of
his bag the enormous key (not less than nine inches
long), and, after placing it in the lock, and turning
it round with his two hands twice, take out another
key a trifle smaller, and unlock a second lock by
turning that key around twice, after all of which
we could enter the dark, bare vestibule of the
church. On our way up-stairs several doors had
to be unlocked and locked again, till finally we
stood before the old organ. This instrument had
forty-two registers. The colour of the keys was the
reverse of the modern custom. The stops worked
on the ratchet principle, and each one, when being
drawn, had a squeak peculiar unto itself. There was
no low C-sharp in the pedal keyboard, and a swell-
pedal or a combination pedal would have been a
luxury.

' This account of Haupt is taken, by permission of Mr. Tniette,
the writer, from the Etude.

THE ORGAN AND ITS MASTERS I5I

"Notwithstanding the barren surroundings, the
lessons were always instructive and intensely interest-
ing. After playing a couple of preludes and fugues
of Bach, or a Mendelssohn sonata, which were inter-
spersed with various squeaks as the professor took a
notion to change the registration, he would take
a pinch of snuff, and finally say : ' Ach, ja ! sehr
gilt, sehr gut'

" After numerous suggestions from him we would
converse a large part of the forenoon on topics con-
nected with the organ, he relating numerous experi-
ences with Mendelssohn, Bach, and Thiele, and many
foreign organists, while I, with my extremely limited
stock of 'high-school German,' would give monosyl-
labic answers and ask numerous questions in the most
bungling manner. At home on Oranienberger Strasse
he was equally interesting and always sociable."

Johann Georg Herzog, born 1822, at Schmolz in
Bavaria, was a modern organist of excellent ability,
and a composer of great merit for his instrument.
His early career was passed in Munich, where he
became organist in 1842, and seven years later
cantor.

In 1850 he was appointed professor at the Con-
servatorium. Five years later he removed to Erlan-
gen, where he became a teacher in the university
and director of the Singakademie, positions which
he held until 1888, when he retired to Munich.

152 THE ORGAN AND ITS MASTERS

Herzog's best known works are his " Praludenbuch "
and his " Handbuch fur Organisten."

Emmanuel Gottlob Friedrich Faisst, born at Ess-
lingen in 1823, entered the university at Tubingen
as a theological student, but his musical talents,
which had already shown themselves in the direction
of great proficiency on the organ, were too strong,
and in 1844, when he went to Berlin and showed his
compositions to Mendelssohn, he determined to make
music his profession. He had already made great
progress without any instruction worthy of mention,
and on the advice of Mendelssohn, he continued his
work in composition without a teacher.

In 1846 Faisst appeared in several German towns
as an organ-player, and eventually took up his abode
in Stuttgart, where, in 1847, he founded an organ
school and a society for the study of church music.
Ten years later he took a prominent part in the
establishment of the Conservatorium, of which he
was later appointed manager.

His writing was almost entirely confined to church
and choral compositions, but several organ pieces of
his composition have been published. Faisst died at
Stuttgart in 1894.

Gustav Merkel (1827-85) was born at Oberoder-
witz, Saxony, and became one of the best organists
and composers for his instrument of the nineteenth
century. He was a pupil of Schneider at Dresden,

GUSTAV MERKEL

THE ORGAN AND ITS MASTERS 1 53

but also received instruction from Julius Otto, Reis-
siger, and Schumann. The appointments which he
held were as follows : Waisenkirche, Dresden, 1858 ;
Kreuzkirche, i860; court organist, 1864; professor
at the Conservatorium, 1861 ; director of the Dresden
Singakademie, 1867-73.

Merkel's compositions for the organ are numerous
and of a very high order ; indeed, he is unsurpassed by
any composer of his day, and his writings show him
to have been a true disciple of the lofty and imper-
ishable school of which Bach was the founder and
master. His later organ sonatas are noble specimens
of that form of writing, and entitle him to the high-
est position as a composer for the organ. His works
include a large number of preludes, fugues, fantasias,
variations, and sonatas, besides some pieces for violin,
cello, and organ.

Joseph Gabriel Rheinberger (i 837-1901) was one
of the best German organists and teachers of the
latter half of the nineteenth century. He was a
native of Vaduz, and a very precocious child, being
organist of the church in his native place at the age
of seven, and as his legs were too short to reach the
pedals, a second set of pedals was fixed above the
regular pedal clavier. Soon after becoming organist
of this church he composed a mass in three parts
with organ accompaniment.

At the age of twelve Rheinberger was sent to the

154 THE ORGAN AND ITS MASTERS

Conservatorium at Munich, where he studied until he
was nineteen. He was now appointed pianoforte
teacher in the same institution and organist of the
Hofkirche of St. Michael, and then director of the
Munich Oratorienverein.

In 1867 Rheinberger received the title of Royal
Professor, and became instructor in counterpoint and
higher organ-playing at the Munich Conservatorium.
In this position he had many pupils, not a few being
Americans, amongst them G. W. Chadwick and H.
W. Parker, both prominent in American musical
life.

In 1877 he was appointed chapel-master of the
royal choir. His compositions are numerous and of
a very high order ; among them may be mentioned
the " Symphonische Tongemalde Wallenstein," two
Stabat Maters, the opera " Die sieben Raben," the
oratorio " Christophorus," three pianoforte sonatas,
a grand requiem, also one a capella theme with fifty
metamorphoses for strings, three trios, a pianoforte
quartet, a nonet, a string quartet, twenty organ
sonatas, an organ concerto, a comic opera, " Des
Tiirmers Tochterlein," a vaudeville, "Das Zauber-
Mrort," the choral works, " Toggenburg," " Klarchen
auf Eberstein," "Das Thai des Espingo," and " Wit-
tekind," a pianoforte concerto, several masses, many
hymns and vocal compositions, and pianoforte and
organ pieces.

THE ORGAN AND ITS MASTERS I 5 5

Rheinberger's organ works have been estimated
very highly, and are well known in all churches
where good music is required. In the biographies
published at the time of his death, it was said that
the mantle of Bach and Mendelssohn had fallen upon
his shoulders. His genius, however, will not com-
pare with that of Bach, or even of Mendelssohn ; but
while he was a master of the technique of his instru-
ment and possessed a deep sympathetic insight with
its special capabilities, he also had a mind fruitful in
the conception of genuine, sincere, and sometimes
very fine musical ideas. Of these, many are formed
into his organ sonatas, which reflect the spirit of
modern music not less in their ingenious structural
design than in the freshness and beauty of their
themes.

Rheinberger's organ sonatas form an important
part of the repertoire of the modern organist, and
they deserve careful and critical study. He may be
said to have undertaken for the organ what Beethoven
did for the pianoforte, that is to say, the development
of the organ sonata. In this great task he may not
have met with the most perfect success, nevertheless
Rheinberger's twenty sonatas are so full of brilliant
and original ideas, and form the employment of such
structural device, that they may justly be said to
mark an epoch in the development of the organ
sonata.

156 THE ORGAN AND ITS MASTERS

The following is a personal view of Rheinberger
by J. W. Nicholl, in Musical Opinion :

" With his monumental series of twenty organ
sonatas, Rheinberger enriched organ literature to
an incalculable extent. The predominating charac-
teristics of his sonatas are a happy blending of the
modern romantic spirit with masterly counterpoint
and a noble and dignified organ style ; and, as exam-
ples of perfect form, these organ sonatas are unri-
valled. Movements of wonderful beauty and lofty
inspiration are found in each one of them, and it is
a real joy to the earnest and conscientious organist
to study and assimilate these fine examples of
musical art,

" All Rheinberger's pupils stood in profound awe
of him ; respect mingled with admiration was the
prevailing sentiment he inspired. Perfectly simple,
honest, and straightforward, — sparing not himself,
— he expected every one to be the same, and any
lack of effort on the part of a student called forth his
severest censure. This was most noticeable in his
organ class, which was very select, containing only
students. He expected, and in fact demanded, that
a student should be technically perfect in an organ
piece before playing it for him. Rheinberger's four
organ-students — two Germans, an American, and an
Englishman (the writer) — had to work very hard
and conscientiously to satisfy the doctor. At a tech-

JOSEPH GABRIEL RHEINBERGER

THE ORGAN AND ITS MASTERS I 57

nical blunder the professor would frown, and if later
in the lesson the same mistake occurred, he would ex-
postulate. Once, from nervousness or perhaps lack of
sufficient preparation, a student made the same mis-
take three times during the playing of a Rheinberger
sonata ; the result was that the lesson came to a
violent stop, and the unfortunate student left the
Conservatorium in a very unenviable state of mind.
" As one would expect, Rheinberger's idea of the
greatest in organ music is Bach, given with broad
and noble delivery. The many changes of manual
affected by some modern organists and arrangers
of Bach's music he strongly deprecated. Once when
the present writer suggested changes of manual to
add variety to a performance of a Bach fugue, Rhein-
berger said : * This fugue can be compared to a noble
and beautifully finished piece of architecture com-
plete in itself, and unnecessary changes can only
have a weakening and degrading effect.' Rhein-
berger had a great horror of the 'ugly' music: any
straining after effect he strongly condemned. An-
other time the writer played a very modern prelude
out of curiosity to see how the doctor would take it.
The effect upon him was curious ; he kept up an
accompaniment of sighs and groans all through the
performance, and, when the music (?) had finished,
he turned and said : ' That to me is like a man deliv-
ering an elaborate oration in an unknown tongue.'

158 THE ORGAN AND ITS MASTERS

The primary consideration in music, he said, 'is that
it shall be beautiful ; music that does not sound
beautiful has no attraction for me.' "

Samuel de Lange, a noted Dutch organist and
composer, was born at Rotterdam in 1840, and was
the son of an organist, who was also his first teacher.
De Lange studied also at Vienna and at Lemberg,
made concert tours in Galicia in 1858-59, and
lived in Lemberg until 1863, when he became organ-
ist and teacher at the Rotterdam Music School.
From 1874 to 1876 he was teacher at a music school
in Basel, and was then called to a similar position at
Cologne Conservatoire. He became teacher and
vice-director at the Stuttgart Conservatoire, and in
1895 conductor of the Stuttgart Society for Classical
Church Music. For a number of years De Lange
made tours as an organ virtuoso through Central
Europe.

We will now return to the French organists.

According to M. Guilmant, the father of the
French school of organ-playing was Jean Titelouze,
a name not to be found in the dictionaries of music
most in use. For many years the French school
was noted for its triviality, and it has at times re-
lapsed into that condition. Alexandre Boely, who
died in 1858, made a great effort to introduce the
works of Bach and other serious composers into
France, but was unsuccessful. He was organist for

THE ORGAN AND ITS MASTERS 1 59

some time of the church of L'Auxerrois at St. Ger-
main, but he sacrificed himself to his artistic desires
and was dismissed from his church.

A few years later Lemmens, the Belgian organist,
astonished the French by his playing of Bach fugues,
and was more successful in his efforts than Boely
had been. He may be said to have laid the founda-
tion for a more serious style, and his example has
been followed by a long list of noted organists,
among whom are conspicuous the names of Franck,
Chauvet, Salome, Saint-Saens, Widor, Guilmant,
Gigout, Loret, and Dubois.

Some mention has already been made of Mar-
chand, the French organist who was put to flight by
Bach. Louis Marchand was a native of Lyons, born
about 1 67 1, and becoming renowned in Paris for
his organ-playing, was made court organist at Ver-
sailles. He appears to have been a man of reckless
and dissipated habits, which got him into trouble.
It is said that the king caused half his salary to be
paid to his wife, an arrangement which did not suit
M. Marchand, who showed his resentment by stop-
ping in the middle of a mass and leaving the church.
The king remonstrated and Marchand replied : " Sire,
if my wife gets half my salary, she may play half the
service." This caused his banishment, and hence
his presence in Dresden. On his flight from Dres-
den he returned to Paris, his banishment being ended,

l60 THE ORGAN AND ITS MASTERS

and set up as a music teacher, meeting with great
success, inasmuch as he became the fashion and was
able to charge enormous prices for his lessons. He
appears to have been a frothy, overrated individual,
and he died in poverty in 1732.

There have been two noted French organists of
the name of S6jan. Nicolas Sejan, born in Paris in
1745, became organist of St. Andr6-des-Arts at the
age of fifteen. In 1772 he was appointed to Notre
Dame, and in 1783 to St. Sulpice. In 1789 he be-
came organist at the Invalides, and in 18 14 of the
Royal Chapel. He died in Paris in 18 19.

Nicolas Sejan went through a thrilling experience
at the time of the French Revolution. In 1793 the
revolutionists held high carnival in the church of
Notre Dame ; a dancer from the opera, one Demoiselle
Candeille, was installed upon the altar as the God-
dess of Reason, while Laharpe made an address
abolishing all religion. A full account of these
sacrilegious proceedings will be found in Carlyle's
" French Revolution." To wind up the orgies a ball
was given, and S6jan was compelled to play dance
music upon the great organ, while the mob danced
and howled popular songs.

Louis Sejan was organist of St. Sulpice until 1863,
when he was succeeded by his friend and pupil, Le-
febure-Wely. He was noted for elegance of form in
his playing.

THE ORGAN AND ITS MASTERS l6l

Another French organist who added something to
the musical hterature of the organ was Francois
Benoist, a native of Nantes (1794-1878). Entering
the Paris Conservatoire in 181 1, he remained there
for four years and carried off the Grand Prix de
Rome. On his return from Italy he became organist
at the Chapel Royal and professor of organ-playing
at the Conservatoire. Besides numerous other com-
positions he left his ** Bibliotheque de I'Organiste,"
consisting of twelve books of organ works.

One of the -most prominent French organists of
the nineteenth century was Louis James Alfred Le-
febure-Wely, a native of Paris (18 17-1869). He
was the son of an organist and composer named
Lefebvre, who took the name of Lefebure-Wely,
The young musician learned his notes before his al-
phabet, and showed a marvellous aptitude for music
as soon as he was able to speak. Such was his pre-
cocity that he was his father's assistant when only
eight years of age, accompanying the plain-song and
playing short pieces. On the death of his father in
1 83 1 the boy was appointed his successor at the
church of St. Roch. In the following year he en-
tered the Conservatoire and gained the second prizes-
for pianoforte and organ in 1834, and the first prizes
in the following year. Outside of the Conservatoire,
he took lessons in composition of Adolphe Adam
and in organ-playing and improvising of Sejan, to

l62 THE ORGAN AND ITS MASTERS

whom he owed a great deal. His improvisations
were considered marvellous, and the piquancy of his
harmonies, the unexpectedness of his combinations,
and the fertility of his imagination, together with the
charm which pervaded all his work, gained for him
the title of "the Auber of the organ,"

Wely was organist of the Madeleine from 1 847 to
1858, during which time he received the Legion of
Honour, For some years he had no regular post,
but in 1863 he was appointed organist of St. Sulpice,
which post had long been held by his friend and
teacher, Sejan. Here he remained until his death.

Lef6bure-Wely was a man of untiring energy, and
wrote a great deal of music, many of his compositions
being for the organ and harmonium, the use of which
latter instrument he made very popular in France.

The French organists have been compared as
follows :

** In the gallery of organists of St. Sulpice, Nivert
represents correctness, Clerembault majesty, Coppeau
religious unction, Nicolas Sejan elevated thought,
Louis S^jan elegance of form, Georges Schmidt im-
petuosity and brilliancy. Lefebure-Wely may claim
many of the qualities of his predecessors, adding the
radiant charm of melody and the scintillation of a
charming fancy."

Antoine Edouard Batiste, a native of Paris (1820-
^G), has been called a musician of severe and un-

THE ORGAN AND ITS MASTERS 163

erring taste, and one of the best organists of his time.
Batiste, as a child, was one of the pages of Charles
X., but at the age of ten he was sent to the Conserva-
toire, where he went through a course of solfeggio,
harmony, counterpoint, fugue, and organ-playing. In
these studies he carried off the first prizes, and in
1840 obtained the second Prix de Rome. While
still a student at the Conservatoire he was entrusted
with classes of solfeggio, and later he became teacher
of a choral class and of a class of harmony for
women. In 1842 he was appointed organist of the
church of St. Nicolas des Champs, and twelve years
later of St. Eustache, which position he held until
his death.

Batiste will be remembered chiefly by his educa-
tional works, his diagram for reading music, and
particularly by his accompaniments for organ writ-
ten on the figured basses of celebrated solfeggi by
Cherubini, Catel, Gossec, and other masters of that
date. He was an exceptionally fine teacher and
performer, but his organ works were not by any
means equal to his talent as a professor and executant.

The following estimate of Batiste is taken from an
article by E, E. Truette in the Etude :

" Comparatively few composers of organ music have
become so universally popular as the composer of
the four ' Offertories to St. Cecilia.' This popular-
ity, which is hardly enviable, is due to the 'ear-

164 THE ORGAN AND ITS MASTERS

tickling tunefulness ' of his melodies and an absence
of technical difficulties, rather than to the presence
of any musicianly content in his compositions.

" He was a prolific composer, and two hundred and
ninety-two of his compositions have been published
by the house of Ashdown, under the editorship of
the late Doctor Spark. Twenty-two of these com-
positions are ' arrangements,' and prove an absence
of the savoir faire which is necessary in adapting
compositions for the organ which were originally
composed for other instruments.

"In this list of nearly three hundred compositions,
numbers three to nine, called ' Grand Offertories,'
and including the St. Cecilia Offertories, are the best
known. It requires a minimum amount of technical
skill, compared with the 'noisy show,' to perform
these offertories, and the average organist can play
them at sight.

"The celebrated andante in G, called 'Com-
munion in G,' which was further named by Doctor
Spark 'The Pilgrim's Song of Hope,' is the cJief
d'cetivre of many an organist, and figures prominently
in the repertoire of the so-called ' right-foot-always-
on-the-swell-pedal organists.' So long as audiences
continue to encore it, so long will the majority of
organists continue to perform it ; but it reflects on
the musical culture of the people when such a com-
position receives storms of applause from an audi-

THE ORGAN AND ITS MASTERS 1 65

ence which will be only indifferently enthusiastic
over a Guilmant sonata, a Merkel pastorale, or a
Bach toccata.

"There is no doubt that Batiste possessed genius
of some sort. The organ at St. Eustache was a
noisy instrument, containing many solo stops, but
was deficient in pleasing combinations, notwithstand-
ing its four manuals and sixty-eight speaking stops,
and nothing so influences the style of the playing or
composing of an organist as the particular organ
which is his constant companion.

" To mention a few of his better-known composi-
tions, beside the * Communion in G,' which has
already been alluded to, the ' Offertories ' in D,
C-minor, and F are the most popular. The ' Offer-
tory in B-minor ' is a piece of musical fireworks of
the order of Widor's toccata from the * Fifth Sym-
phony.' The ' Offertory in A-minor,' based on an
old Easter hymn, is of ' the left hand melody and
right hand flute arpeggio ' variety. The * Offertory
in E ' (No. 22) and ' Postlude in E-flat ' are only
somewhat less popular.

*• It has been said that, without the music of Ba-
tiste, organ music would be less popular than it is ;
that many people are first attracted to the organ by
the tunefulness of the music of this composer. The
latter point is undoubtedly true, just as many people
are first attracted to music by the 'rag-time' melo-

1 66 THE ORGAN AND ITS MASTERS

dies and ' coon ' songs of to-day, but it is doubtful
if the rank of musicians would be noticeably depicted
if such music were banished."

Nicolas Jacques Lemmens (1823-81) was born
at Zoerle-Parwys, Westerloo, Belgium, and was the
son of an organist. He began his organ studies at
the age of eleven, under Van der Broeck, organist
at Dieste. Four years later he entered the Conser-
vatoire at Brussels, but remained only a short time,
as he was called home on account of the illness of his
father. During this time he succeeded his former
teacher as organist at Dieste, but in 1841 he
returned to the Conservatoire, where he carried off
the second prize for composition in 1844, and the
first in 1845, as well as the first prize for organ-play-
ing. In the following year he was sent, at the expense
of the government, to Breslau, where he became a
pupil of Hesse, remaining a year, and returning
with a testimonial from his teacher to the effect that
he could "play Bach as well as he himself did."

Lemmens was now appointed professor of organ-
playing at the Brussels Conservatoire, and his energy
and talent brought him many pupils, and inspired
a new feeling throughout Belgium. In 1857 he
married Miss Sherrington, an English lady who was
a prominent singer, and who, as Madame Lemmens-
Sherrington, became the most popular soprano in
England. After his marriage, Lemmens resided

THE ORGAN AND ITS MASTERS 1 6/

chiefly in England, but in 1879 he established a
college at Malines, Belgium, under the auspices of
the Belgian clergy, for the training of Catholic
organists and choirmasters.

Lemmens's organ compositions, some sixty in all,
are well known and much used, and his " Ecole
d'Orgue " was adopted in the Brussels and Paris
Conservatoires, and in many other music schools.

Alphonse Charles Renaud de Vilback (1829-84)
was a native of Montpelier, France, and became one
of the most brilliant executants of his day upon the
organ. He was educated at the Paris Conservatoire,
and carried off the Prix de Rome in 1844. On his
return from Rome he became organist of the church
of St. Eugene, Paris, where he rivalled Lefebure-
Wely in improvisation, and equalled him in execu-
tion. This position he held from 1855 to 187 1. He
died in Brussels in poor circumstances, having be-
come nearly blind. He was noted for his charming
manner and brilliant conversation.

Camille Saint-Saens, one of the foremost of French
composers, is also an organist of great ability. Born
in Paris in 1835, he lost his father at a very early
age and was brought up by his mother, and a great-
aunt who taught him the elements of music. When
seven years old he was placed under Stamaty. In
1847 he entered Benoist's class at the Conserva-
toire and obtained the second organ prize in 1849,

I 68 THE ORGAN AND ITS MASTERS

and the first, two years later. Having failed to
secure the Prix de Rome, he became organist of the
church of St. Merri, in 1853, and in 1858 was ap-
pointed organist of the Madeleine, where he dis-
tinguished himself by his talent for improvisation as
well as by his execution. This position he resigned
in 1877, and was succeeded by Dubois. From this
time he has been occupied chiefly by compositions,
teaching, and concerts ; his concert tours have taken
him all over Europe. His compositions do not in-
clude anything for organ solo.

M. Gustave Chouquet is authority for the following
anecdote concerning the improvising of Saint-Saens :
*' At a party where several eminent musicians were
assembled, some one begged Schulhoff to play
anything that came into his head. After a httle
pressing the fascinating pianist sat down to the
instrument and began to prelude in the bass, when
Saint-Saens drew near, and still standing, accompa-
nied in the treble the melodies which Schulhoff was
playing. Then sitting down in his turn, he impro-
vised upon the improvisation of his partner in a
manner to captivate the most hypercritical ear.
There was indeed a slight clashing of keys, but even
these double modulations with contrary resolutions
added to the interest with an audience composed
entirely of practised musicians. It was a most ex-
traordinary exhibition of this kind of power."

THE ORGAN AND ITS MASTERS 1 69

Clement Francois Theodore Dubois, one of the
most prominent French organists of recent years,
was born at Rosny (Marne) in 1837, and entered
the Paris Conservatoire at an early age. His career
as a student was brilliant, for he gained successively
the first prizes for harmony, fugue, and organ, and in
1 86 1, under Ambroise Thomas, the Prix de Rome.
On his return from Italy he devoted himself to
teaching and composition, and produced a number of
good works. In 1871 he was appointed professor
of harmony at the Conservatoire; in 1891 he suc-
ceeded Delibes as professor of composition, and in
1896 he succeeded Ambroise Thomas as director of
that institution. In 1894 he was elected to the
chair in the Academy made vacant by the death of
Gounod.

On his return from Italy he became organist of
the chapel of St. Clotilde, and in 1877 he replaced
Saint-Saens as organist of the Madeleine.

The compositions of Dubois are numerous, but of
those pertaining to the organ are a " Fantaisie Tri-
omphale," for orchestra and organ, " Meditatione
Priere " for strings, oboe, harp, and organ, and several
pieces for organ alone.

Dubois is considered to possess a full knowledge
of the resources of his art, but little originality or
independence of style, yet he has gained many prizes
and honours. In 1878 he carried off, together with

170 THE ORGAN A AW ITS MASTERS

B. Godard, the prize at the Musical Concours in-
stituted by the city of Paris, for his " Paradis Perdu,"
and in 1883 he was decorated with the Legion of
Honour.

Theodore Cesar Salom6 and Charles Alexis
Chauvet were both excellent organists. The former
was born at Paris in 1834, and won the second Grand
Prix de Rome in 186 1. He became second organist
of La Trinite and wrote a large number of organ
pieces and a symphony.

Chauvet was born at Marncs in 1837 and took
first prize in the organ class at the Paris Conserva-
toire in i860. He became organist of La Trinity in
1869, but died two years later. Chauvet was a
wonderful improviser and a highly gifted composer
of organ music.

The following account of Guilmant from the pen
of E. E. Truette, one of his pupils, is taken by per-
mission from the Etude :

" Felix Alexandre Guilmant, undoubtedly the most
noted organist and composer of organ music which
France can claim as her own, was born March 12,
1837, at Boulogne-sur-Mer, where his father was,
for nearly fifty years, organist at the church of St.
Nicholas. The people of the whole town worshipped
the venerable form of the old man who for so long a
time had been in their midst, and who had officiated
so many Sundays at the old organ. He lived to the

THE ORGAN AND ITS MASTERS 171

advanced age of ninety-seven, dying at Meudon
in 1887.

"When but a small boy Guilmant commenced the
study of music with his father, making such marvel-
lous progress that at the early age of twelve he
frequently took his father's post. He studied har-
mony diligently with Gustavo Carulli (son of a some-
what noted guitarist), who resided in the same town.
His hunger for musical knowledge was so ravenous
that he mentally devoured every theoretical work to
which he could gain access, and acquainted himself
with the compositions of classical writers. He went
to the church daily, where in solitude he laboured for
hours, — sometimes for ten hours, tiring out several
blowers, — perfecting himself in organ-playing, with
such gratifying results that he was appointed organist
of St. Joseph's at the youthful age of sixteen.

"At the age of eighteen he brought out his first
'Festival Mass in F,' and other similar works fol-
lowed in close succession. In 1857, at the age of
twenty, he was appointed maitre de cJiapelle at St.
Nicholas, and soon afterward teacher in the music
school. He organised the Orpheus Singing Society,
which became celebrated in that vicinity, and was soon
after elected a member of the Philharmonic Society.

" On a trip to Paris he heard Jacques Lemmens, the
celebrated Belgian organist, who was a professor in
the Brussels Conservatory. Guilmant then went to

1/2 THE ORGAN AND ITS MASTERS

Brussels and became the favourite pupil of Lemmens.
Being called upon frequently to inaugurate new
organs, Guilmant acquired a reputation which was
far-reaching, and which preceded him to Paris, to
which city he journeyed in 1862, when, on April 2,
he assisted in the inauguration of the new famous
organ in the church of St. Sulpice.

" His performance of several organ numbers was
thus described by Professor Elwart :

" * The able Boulogne organist, Guilmant, played in
immediate succession a "Toccata" and "Fugue" of
Bach, " Pastorale " of Kullak, and several pieces of his
own composition, among them a " Communion," which
was preeminently distinguished by deep feeling.
Finally, the young artist, a pupil of his father and of
the celebrated Lemmens, played a " Grand March,"
on a theme by Handel. This Cavaille-Coll organ is
so complicated in its combinations that usually about
one month is necessary to become acquainted with
it thoroughly. A. Guilmant took but two hours to
prepare himself. All admired the spirit and intellect
of the organist of St. Nicholas, and after the concert
he received the heartiest congratulations of those
artists whom he had invited to attend. It is, indeed,
a notable thing for a youthful artist to have left his
predilections and his allotted work resolutely behind
him and gone forth to seek the baptism of a Parisian
verdict upon his rising fame.'

THE ORGAN AND ITS MASTERS 1 73

"In 1865 Guilmant inaugurated an organ in the
Carmelite Church, Kensington, London, which was
built by Cavaille-Coll. In this concert he was as-
sisted by Widor, at that time of Lyons, but now
of Paris. Soon after this he inaugurated the great
organ in Notre Dame, Paris, at which time he gave
the initial performance of that masterpiece, which
was specially composed for this occasion, namely :
'Marche Fun^bre et Chant Seraphique.' This
composition opened the eyes of the French organists
to the resources of a modern organ for producing
varied effects and tone-colours, and created a sensa-
tion. Guilmant thus achieved a complete triumph
in Paris before establishing himself in that city, and
in 1 87 1, when he was called to take the post of
organist at La Trinity, at the death of Chauvet, he
had an enviable reputation. This reputation rapidly
spread in foreign countries, particularly in England,
whither he journeyed frequently for various concert
engagements. He went to Rome and opened the
new organ built by Merklin in the church of St.
Louis des Frangais, giving daily concerts for two
weeks, during which time many of the organ works
of Bach and Handel were heard for the first time in
Italy. During this visit Pope Leo XIII. decorated
him a Commander of the Order of St. Gregory the
Great. He went to Riga, Russia, and gave a series
of concerts on Walcker's great organ, at that time,

1/4 THE ORGAN AND ITS MASTERS

and until the construction of the Sydney organ, the
largest organ in the world.

" During the Paris Exposition of 1878, Guilmant in-
augurated his famous series of organ recitals in the
hall of the Trocadero, in which many of the organ
works of Bach and Handel have been performed for
the first time in Paris. Some years afterward he
secured the cooperation of Colonne's orchestra, giving
the concertos of Bach and Handel with orchestral
accompaniment. For twenty years or more he made
annual, and oftentimes semi-annual, trips to England
for concerts. In 1890 he played at St. George's
Chapel, Windsor, at the request of the queen, who
was charmed with his marvellous skill in improvising.
In 1893 he received the decoration of a Chevalier
de la Legion d'Honneur.

" Guilmant has made two concert tours in the
United States, playing in all the principal cities,
always with the greatest success. On the first of
these tours he gave several concerts at the World's
Fair, Chicago.

" In 1902 M. Alexandre Guilmant, for so many
years organist of La Trinity, Paris, resigned. For
several years the relations between the cur6 and the
organist have been strained, and at last ended in the
organist's resigning. M. Ch. Quef was appointed
to the position.

" Guilmant has been one of the most prolific com-

Copyright, IS'.ii;, by A. Dii|n.nt

ALEXANDRE GUILMAXT

THE ORGAN AND ITS MASTERS 1 75

posers of organ music since the time of Bach, his
works being not only numerous, but of widely vary-
ing character. His first ' Sonata in D-minor,' stands
preeminent among his compositions. This work,
though first appearing for organ alone, was conceived
for organ and orchestra, but the opportunities for
its performance as such being rare at that time, he
wisely published the \/ork first as a sonata for organ
alone, and some years afterward as a symphony for
organ and orchestra. He has since published five
other sonatas, but none of the later ones compare
with the first one in originality, breadth of conception,
and unity of construction. Lack of space forbids, at
the present moment, extended notice of all the organ
compositions of Guilmant, but a glance at his ' Air
and Variations,' * Marche Funebre et Chant Sera-
phique,' 'Marche Religieuse,' 'Fugue in D,' 'First
Meditation,' 'Lamentation,' and 'Scherzo Sympho-
nique ' will prove the versatility of the composer.

" Guilmant's unique skill in improvising on one or
more given themes brought forth storms of applause
at all his concerts in this country, and has always
been one of his special characteristics. For years
Guilmant gave most of his organ lessons on the small
one-manual organ in his studio in Rue de Clichy, but
he has now a fine three-manual organ at his home in
Meudon, near Paris.

"As an instructor Guilmant is quite unlike all other

176 THE ORGAN AND ITS MASTERS

organ-teachers, in the extremely close attention which
he gives to minute details, and especially to phrasing,
accentuation, rests, dotted notes, etc., and it is this
same attention to details that characterises his public
performances. His innate modesty and unassuming
manner at all times have won the respect and admira-
tion of all classes of musicians."

Eugene Gigout, a native of Nancy (1844) is a
modern French organ virtuoso who has won fame
throughout Europe by his playing and his composi-
tions. At the age of thirteen he entered the Neider-
meyer School at Paris, in which he studied and
taught for over twenty years. In 1863 he was ap-
pointed organist at the church of St. Augustin, and
in 1885 he founded an organ school in Paris which
was subsidised by the government. He was also
appointed an officer of public instruction in 1885,
and has been decorated with the Legion of Honour.
He has published a number of organ pieces, and is
noted for his adherence to the severe style.

Gabriel Urbain Faure, born at Pamiers, Ariege,
France, in 1845, studied in Paris under Neidermeyer,
Dietsch, and Saint-Saens. He was appointed, in
1866, organist of the church of St. Sauveur at Rennes.
In 1870 he returned to Paris to fill the position of
accompanying organist at St. Sulpice. He was then
for a time principal organist at St. Honors, and later
became chapel-master at the Madeleine, being ap-

THE ORGAN AND ITS MASTERS Ijy

pointed organist of that church in 1896, in which
year he also became professor of composition, coun-
terpoint, and fugue at the Conservatoire, where he
succeeded Massenet.

Faure is one of the best known of French com-
posers, but has contributed nothing to the hterature
of the organ.

Another eminent French organist and composer
is Charles Marie Widor, born in 1845, at Lyons,
where his father was organist of the church of St.
Francois. After preliminary study at home he was
sent to Belgium, where he became a pupil of Lem-
mens on the organ and Fetis for composition. Re-
turning to France, he succeeded his father at St.
Fran9ois in i860, and in 1869, having gained a high
reputation by his concerts in various cities, he was
appointed organist at St. Sulpice, Paris. In 1890,
he succeeded Cesar Franck as professor of organ-
playing at the Paris Conservatoire, and in 1896 he
replaced Dubois as professor of counterpoint, fugue,
and composition.

Widor is an excellent player and skilful improviser,
and has added some valuable works to organ litera-
ture, notably his " Symphony Gotique," and nine
other symphonies or sonatas. His works show grace
and distinction, and are free from vulgarity, qualities
which appeal both to the public and the select few.

The playing of Dubois, Guilmant, and Widor has

178 THE ORGAN AND ITS MASTERS

been compared by an American resident in Paris ;
"Dubois plays more nervously than Guilmant, less
happily than Widor, more rigidly than either,
Dubois moves his pedals with the balls of small,
short feet, Guilmant, with the toes of long, narrow
ones. Widor glides over them as in dancing."

The original organ of St. Sulpice was built by the
celebrated Cliquot, and was completed in 1781. Sev-
eral changes were made, and some parts of the instru-
ment were reconstructed in the following years. In
1857 Cavaille-Coll began a thorough remodelling and
enlarging of this organ, and, when it was reopened
on April 29, 1862, by Lefebure-Wely, the organist
of the church, it was one of the largest and most
celebrated in the world ; and even to-day it holds its
own at the head of French organs. Owing to the
limited space which was available, Cavaille-Coll was
obliged to construct the organ in seven distinct
stories, the third, fifth, and seventh containing the
wind-chests and pipes, while all the mechanism and
reservoirs were located in the intervening stories.

Six large reservoirs, fed by five huge feeders,
capable of supplying over a thousand cubic feet of
wind per minute, distribute the wind to the numerous
wind-chests, by means of thirty regulating reservoirs,
having numerous degrees of pressure. This organ is
composed of five manuals and pedals, one hundred
speaking stops, mechanical registers, twenty combina-

THE ORGAN OF ST. SULPICE, PARIS, FRAN'CE

/

THE ORGAN AND ITS MASTERS

179

tion-pedals, ten adjustable combination-stops, and six
thousand seven hundred and six pipes.

The console is reversed, and the tiers of draw-stops
are arranged to form a semicncle with the manuals, thus
bringing all the knobs within easy access of the per-
former. A liberal use of the pneumatic lever is made
throughout the organ. Appended is the specification :

I. Grand Chorus (13 Stops).

Salicional

ft. Basson 16 ft.

Octave 4 "

Grosse Fourniture . . IV. rks.

Grosse Cymbale . . . VI. "

Plein Jeu IV. "

Cornet V. "

Premiere Trompette
Second Trompette .

Basson

Clarion

Clarion Doublette .

8
8
8

4
2

Bombarde

16 ft.

II. Great Organ (13 Stops).

Prin. Harmonique
Montre . . . .
Bourdon . . .
Flute Conique
Flute Harmonique
Flute Traversiere
Montre . . . .

32, 16

16

16

16

8

8

ft. Bourdon 8

" Diapason 8

" Flute a Pavilion ... 8

" Prestant 4

" Grosse Quinte . . . . 5^^

" Doublette 2

ft-

III. Bombarde (20 Stops).

Soubasse . . .
Flfite Conique .
Principal
FKite Harmonique
Bourdon . .
Gambe . . .
Violoncelle . .
Keraulophone .
Flflte Octaviante
Prestant . .

• 5^ ft.

16 ft. Grosse Quinte

16 " Grosse Tierce . .

8 " Quinte 2f "

8 " Octave 4 "

8 " Octavin 2 "

8 " Cornet V. rks

8 " Bombarde 16 ft

8 " Baryton 8 "

4 » Trompette 8 "

4 " Clarion 4 "

i8o

THE ORGAN AND ITS MASTERS

IV. Choir Organ (20 Stops).

Violon Basse .
Quintaton . .
Quintaton . .
Flute Traversiere
Salicional
Viole de Gambe
Unda Maris
Flute Deuce
Flute Octaviante
Dulciana . .

16

ft.

16

t(

8

t(

8

((

8

t(

8

((

8

<t

4

<t

4

((

4

ti

Quinte 2| ft.

Doublette 2 "

Plein Jeu Ilarmonique y-d "

Tierce if "

Larigot '} "

Piccolo I "

Euphone 16 "

Trompette 8 "

Clarinette 8 "

Clarion 4 "

V. Swell Organ (22 Stops).

Quintaton 16 ft.

Bourdon 8 "

Flute Harmonique . . 8 "

Violoncelle 8 "

Voix Celeste .... 8 "

Prestant 4 "

Flute Octaviante . . . 4 "

Dulciana 4 "

Nazard 2f "

Doublette 2 "

Octavin 2 "

Fourniture .
Cymbale
Cornet . .
Bombarde .
Cor. Anglais
Trompette .
Trompette Har. .
Basson et Hautbois
Cromorne . .
Voix Humaine
Clarion ....

IV. rks.

V. "

V. "

16 ft.

16 "

8 "

8 "

8 "

8 "

16 "

4 "

Principal Basse . .

Contre Basse .... 16

Soubasse 16

Fmte 8

Violoncelle 8

Flfite 4

Pedal Organ (12 Stops).

. 32 ft. Contre Bombarde

32 ft.

Bombarde 16

Basson 16

Trompette 8

Ophicleide 8

Clarion 4

Pedal Movements.

1. Orage (Storm Pedal). 5. Sub. Octave, Gr. Ch.

2. Coupler, Gr. Ch. to Ped. 6. Sub. Octave, Gt.

3. Coupler, Gt. to Ped. 7. Sub. Octave, Bombarde.

4. Ventil Pedal (Reeds). 8. Sub. Octave, Ch.

THE ORGAN AND ITS MASTERS l8l

9. Sub. Octave, Sw. 15. Coupler, Gt. to I.

10. Bombarde Ventil (Reeds). 16. Coupler, Bonibarde to I.

11. Choir Ventil (Reeds). 17. Coupler, Ch. to I.

12. Great Ventil (Reeds). 18. Coupler, Sw. to I.

13. Swell Ventil (Reeds). 19. Tremolo.

14. Coupler, Gr.Ch. to I. Manual. 20. Swell pedal.

Cesar Auguste Franck, a native of Liege and a
pupil of Liege Conservatoire, is better known by his
compositions than as an organist. Leaving Liege in
1837, he went to Paris, where he entered the Conser-
vatoire, and in the following year took first prize in
pianoforte and second prize for composition. In
Paris he was a pupil (for organ) of Benoist, whom he
succeeded at the Conservatoire as professor of organ-
playing and as organist at the church of St. Clothilde
in 1872. He died at Paris in 1890.

At the time of the Paris Exposition of 1878 Ce'sar
Franck, in common with other organists, played at
the Trocadero. At these recitals he gave six pieces
for organ, a " Fantaisie Cantabile " and " Pi^ce Hero-
ique." Franck has been spoken of as the saint of
French music : "A real saint in music, a Bach French
and modern, an ascetic who has united with divine
sanctity all the tenderness of human sympathy and
grace. By the authority of his musical example he has
dispensed about him the grandeur, love, taste, and
sense of a strong and substantial music school."

Franck was succeeded at St. Clothilde by Henri
Constant Gabriel Pierne, who was born at Metz in

1 82 THE ORGAN AND ITS MASTERS

1863. Piern6 became a student at the Paris Con-
servatoire and a pupil of Marmontel, Franck, and
Massenet. He won the first prize for pianoforte- play-
ing in 1879, for counterpoint and fugue in 1881, and
for organ in 1882, besides which he gained the Grand
Prix de Rome.

Fernand de la Tombelle is one of the best known
French organists and composers of organ music. He
was born at Paris in 1854, and received his first les-
sons from his mother, but his musical education did not
begin in earnest until after he had finished his college
course. Then he became a pupil of Guilmant on the
organ and studied counterpoint and fugue with Dubois.
His compositions gained for him several prizes, and his
collection of organ pieces, which is his most impor-
tant work, built up his reputation in England and
America.

M. Tombelle is an excellent improviser and a
fluent player upon the organ, but he has devoted
most of his time to composition, and does not pre-
tend to be a virtuoso.

Henri Paul Riisser, born at Toulouse in 1872, is
one of the most brilliant of the younger generation
of French organists. After early study at Toulouse,
he went to the Niedermeyer School at Paris, and
later he studied at the Conservatoire. In 1892 he
was appointed organist at St. Cloud. In the same
year he took the second Grand Prix de Rome, and in

THE ORGAN AND ITS MASTERS 1 83

the following year he took the Grand Prix de Rome
with his cantata "Antigone."

Of modern Belgian organists may be mentioned
Mailly, Tilborghs, and Callaerts. Of these, Alphonse
J. E. Mailly is best known as a virtuoso. Born at
Brussels in 1833, he was educated at the Conserva-
toire in his native city, where he became professor of
pianoforte in 1861 and of organ in 1868. He has
given many organ concerts in France, Holland, and
England, and has written some sonatas, fantasias,
and other pieces for the organ.

Joseph Tilborghs was born at Nieuwmoer in 1830,
was a pupil of Lemmens and Fetis at the Brussels
Conservatoire, and became professor of organ-playing
at the Ghent Conservatoire in 1882. He has written
some organ pieces and motets with organ accompani-
ment.

Joseph Callaerts was a native of Antwerp (1838),
and a pupil of Lemmens at Brussels. He was organ-
ist of the Jesuit College from 185 i to 1856, and later
of the cathedral at Antwerp, also organ-teacher at
the music school since 1867.

Since the early days of Italian supremacy in organ-
playing, when the German and Flemish organists
journeyed to Italy to learn of Gabrieli and the other
great organists, organ-playing in that country has
fallen into a low condition. There are in Italy few
good organs and few good organists. For many years

184 THE ORGAN AND ITS MASTERS

the successors of the great organists left unde-
veloped the modern style of playing. The organists
took but little interest in their organs, regarding
them merely as instruments for the accompaniment
of the voice, and the organ-builders had but little
incentive to use their best efforts. In many of
the organs the stops are divided as in a reed organ,
and the pedal-boards are deficient, being of only an
octave and a half, and the pedals themselves too
short.

As recently as 1886, when Guilmant visited Italy,
he played Bach fugues upon these instruments, to the
great astonishment of the native organists.

In recent years a few good organists have used
their utmost efforts to bring back the art of organ-
playing to its ancient preeminence in Italy. Of
these the most prominent are Filippo Capocci of
Rome, and Enrico Bossi at Venice, both of them
good composers for their instrument. The best
organ in Italy is that at the church of St. John
Lateran, where Capocci plays.

The name of Capocci is first among modern Italian
organists. But there have been two eminent men of
that name. The first, Gaetano, was a native of
Rome, born in 18 11. He became a pupil of Sante
Pascoli, was appointed organist at the church of
S. Maria di Vallicella, and in 1839 ^^'^s made or-
ganist at S. Maria Maggiore. In 1855 he became

THE ORGAN AND ITS MASTERS 1 85

maestro direttore of the " Capella Mia " at the Lateran.
He died in 1898.

One of his best pupils was his son Filippo, who was
born at Rome in 1840, and who has since 1875 been
organist at St. John Lateran. He is not only an ex-
cellent organist, but a good composer of organ music.

Marco Enrico Bossi was born at Salo, Brescia, in
1 86 1. He was a pupil of his father (organist at
Morbcgno), and later of Fumagalli, for organ, besides
other noted musicians for piano and theoretical
branches.

From 1 88 1 to 1891 Bossi was organist and chapel-
master at Como Cathedral, and after that he was
professor of organ and harmony at the Royal Con-
servatory, San Pietro a Majella, at Naples. In Janu-
ary, 1896, he became director of, and professor of
advanced composition and organ in, the Liceo Bene-
detto Marcello, at Venice.

He is acknowledged by all to be one of the very
best organists of Italy at the present day, his name
being coupled with that of Capocci, who is an older
musician.

As a composer Bossi is very prolific, having written
considerably over one hundred works. Much of this
music is for choir and organ, some for strings, or-
chestra, etc., but for organ he has also written a large
amount, including concertos, sonatas, and almost every
form of organ composition.

CHAPTER IX.

ENGLISH ORGANISTS

Although he was born in the year 1800 (Decem-
ber 27), and the nineteenth century did not begin,
strictly speaking, until 1801, yet Sir John Goss may
be considered as the first English organist of emi-
nence born in the nineteenth century. He was the
son of an organist of Fareham, Hants, and became
one of the children of the Chapel Royal, afterward
becoming a pupil of Attwood, whom he eventually
succeeded as organist of St. Paul's Cathedral. This
position he held actually for thirty-four years, and
nominally for forty-two, for when he retired from
active service he retained the title and salary of the
office.

Goss was considered the greatest church musician
of his day, and was, in 1856, appointed composer to
the Chapel Royal. In this capacity it fell to his lot
to compose the music for the thanksgiving service
for the recovery of King Edward, then Prince of
Wales, from his severe illness (1872,) and this was

186

THE ORGAN AND ITS MASTERS 1 8/

made the occasion for conferring upon him the honour
of knighthood.

Goss was for many years a teacher at the Royal
Academy of Music. He wrote some fine anthems, a
book on harmony, and other works, and pubhshed
" The Organist's Companion," a series of voluntaries,
interludes, and other works. He died in 1880,
honoured and respected for his ability, his sincerity,
his modesty, and kind and gentle disposition,

Henry John Gauntlett, native of Wellington, Salop
(1806-76), became organist, at the age of nine, of
the parish church of Olney, Bucks, to which living
his father (a clergyman) had been appointed. He
showed an aptitude for music, and especially for organ-
playing, at a very early age. In 1826 he was articled
to a solicitor, and for some years was in active prac-
tice in London. In 1827 he obtained the post of
organist of St. Olave's, Southwark, and he continued
the study of music together with that of law. About
1836, after he had obtained a high reputation as an
organist, Gauntlett began to advocate a reform in
organ-building by the adoption of the C organ in the
place of the old F and G instruments. In this he
found a strong supporter in William Hill, the organ-
builder, and together, under the supervision of Gaunt-
lett, many fine organs of the new style were built and
the reform firmly established in England.

About 1842 Doctor Gauntlett (whose degree had

1 88 THE ORGAN AND ITS MASTERS

been conferred upon him by the Archbishop of Can-
terbury) gave up the practice of law and devoted
himself entirely to music. He became a lecturer,
critic, and reviewer, and edited and published many
of the works of Bach, Beethoven, etc.

He was selected by Mendelssohn to play the organ
part in his oratorio " Elijah," when it was produced
at Birmingham, in 1846. During his career he held
various positions as organist, but he will be best
remembered as a composer and editor of psalm and
hymn tunes, in which field he worked with great
enthusiasm for over forty years. He died suddenly
in 1876.

Henry Smart (1813-79) was an exceptionally
fine organist and a writer of good ability for the
organ. He was born in London and was educated
for the law, but preferred music, and in 1831 received
his first appointment as organist of the parish church
of Blackburn, Lancashire. Five years later he se-
cured a London position, and eventually became or-
ganist at St. Pancras Church. He was an excellent
player, was considered particularly able as an accom-
panist in the service, and was also a splendid impro-
vises About 1864 he became blind, and after that
time all his compositions had to be dictated to an
amanuensis. Shortly before his death in 1879, the
government granted him a pension in acknowledg-
ment of his services in the cause of music.

THE ORGAN AND ITS MASTERS 1 89

Henry Smart was the nephew of Sir George Smart,
who was a good organist, having been one of the
organists of the Chapel Royal. But Sir George
Smart was better known as an organiser and con-
ductor of festivals, in which capacity he introduced
to the British public Mendelssohn's " Mount of
Olives," in 18 14, and "St. Paul," in 1836 at the
Liverpool Festival.

Sir George Smart was also celebrated as a teacher
of singing, and was much sought by those who
desired to acquire the traditional style of interpret-
ing Handel. Amongst these singers were Henri-
etta Sontag and Jenny Lind. Sir George Smart
taught singing until he was more than eighty years
of age, but lived until he was ninety-one. He died
in 1867.

Edward John Hopkins was known as the father of
English organists. He was born in 18 18 in West-
minster, and came of a musical family, many mem-
bers of which were eminent in different branches of
the profession. Two brothers of Edward, viz., John
and Thomas, became organists, the former holding
the position at Rochester Cathedral, and the latter,
who died in 1883, being organist at St. Saviour's
Church, York, — and both were very fine extempore
players.

E. J. Hopkins began his musical career as one of
the children of the Chapel Royal, at the age of eight,

190 THE ORGAN AND ITS MASTERS

and he was such a good reader, and had such a re-
markable voice, that he was made to do double duty
at the Chapel Royal and St. Paul's Cathedral, singing
at four services a day.

The first state function in which he participated
was the coronation of William IV., and the last the
Diamond Jubilee of Queen Victoria. When fifteen
years old he left the Chapel Royal, and being on very
good terms with James Turle, who was organist of
Westminster Abbey, and with two of the leading
organ-builders, he applied himself vigorously to ob-
taining a thorough knowledge of the instrument.
He was entirely self-taught, and Turle used fre-
quently to allow him to play parts of the service. It
was through Turle's kindly interest that he was
elected, at the age of sixteen, to be organist of the
parish church at Mitcham, eight miles from London.
The committee hesitated to appoint one so young,
and Turle sent his compliments to them and said,
" If they are afraid to trust Hopkins to accompany
hymns and chants in Mitcham Church, Mr. Turle
does not hesitate to entrust him to play services in
Westminster Abbey." That settled the question,
and Hopkins was appointed with a salary of forty
guineas a year.

After four years of duty at Mitcham, Hopkins was
invited to open the new organ at St. Peter's, Isling-
ton, and was afterward offered the position of organ-

THE ORGAN AND ITS MASTERS I9I

ist, which he accepted, but m 1841, wishing to be
nearer home, he accepted the appointment to St.
Luke's, Berwick Street, Soho, where he remained
for two years. Then began the long and notable
career at the Temple Church, which covered a period
of nearly sixty years.

The contest for the appointment lay between Hop-
kins and George Cooper, and it was decided in favour
of Hopkins because his rector, objecting to his ab-
sence during the probationary period at the Temple,
discharged him. The benchers found the two candi-
dates about equal in merit, but felt that as Hopkins
had lost his position on their account, he should get
the post. Hopkins was then twenty-five years of age.

Of Doctor Hopkins's playing it is needless to say
much here. During his long service his fame spread
far and wide. He was admirable as an accompanist
and as an extempore player. The Temple Church
became a Mecca for all young organists, and many
were the pupils who benefited by his instruction.

Doctor Hopkins was connected with many institu-
tions, and the composer of a number of excellent
anthems. He was not a prolific composer for the
organ, but his pieces and arrangements maintain a
high standard of excellence. His book, " The Organ ;
Its History and Construction," in which he was asso-
ciated with Doctor Rimbault, has long been the stan-
dard work upon the subject, and his contributions to

192 THE ORGAN AND ITS MASTERS

Grove's Dictionary of Music and Musicians are inval-
uable.

Doctor Hopkins died early in 1901.

George Cooper, who was considered one of the
best organists of his day in England, was the son
of the assistant organist at St. Paul's Cathedral,
and was born at Lambeth, in 1820. His quickness
of ear, readiness of execution, and taste for good
music developed themselves very early, and when he
was eleven years of age, he often played the services
at St. Paul's for his father. At the festivals of the
Sons of the Clergy, Attwood, who was then chief
organist, delighted to make him extemporise, and on
one such occasion Mendelssohn, who was present,
is said to have remarked upon his talent and to have
praised him. When he was a little over thirteen
years of age he was made organist of the church of
St. Benet, Paul's Wharf, London, and when Attwood
died in 1838, Cooper was appointed assistant organ-
ist of St. Paul's Cathedral — the post formerly held
by his father, who resigned in his favour. Besides
this, he occupied various positions in different
churches until, in 1867, on the death of Sir George
Smart, he became organist of the Chapel Royal. He
died in 1876.

Cooper was highly respected, and did much to
familiarise his hearers with the works of Bach and
other great composers, which he played in a broad

THE ORGAN AND ITS MASTERS 1 93

and noble style. He did not leave any compositions,
but published several books of organ music. " The
Organist's Manual," the " Organist's Assistant,"
'• Organ Arrangements," and " Introduction to the
Organ " are all well known works.

The name of Doctor Edward Chipp is one which
is to be found frequently in the accounts of organ
recitals in England during the middle of the nine-
teenth century. Edmund Thomas Chipp was the
son of T. P. Chipp, who was the player of the
"Tower Drums." Born in London on Christmas
Day, 1823, he was educated at the Chapel Royal,
afterward studied the violin, and entered the queen's
private band in 1844. He now soon became known
as an organist, and in 1847 succeeded Doctor Gaunt-
lett at the St. Olave's Church. It is unnecessary to
record Doctor Chipp's church appointments, of which
he held several at different periods ; but his opportu-
nity as a concert organist came when he succeeded
Mr, Best as organist of the Panopticon, a post which
he held until the close of that institution. His next
public appointment was to Ulster Hall, Belfast, in
1862, and four years later he was called to Dundee,
where he became organist of Kinnaird Hall. In the
following year he settled down into the position of
organist at Ely Cathedral. He died at Nice in
1886.

Doctor Chipp is mentioned as having played in

194 T'//^ ORGAN AND ITS MASTERS

public, from memory, Mendelssohn's organ sonatas, —
an accomplishment which was considered remarkable.

In reviewing English organists, it is impossible to
omit the name of Sir Frederick Ouseley, for his skill
in extempore playing and his facility in dealing with
suggested or improvised themes was most remarkable.
He never held a position as an organist. His posi-
tion in musical life was somewhat anomalous, for
though he was educated for the Church and followed
the profession of a clergyman, and was regarded as a
musical amateur, yet he held for many years one of
the most important professional posts in England,
viz., that of professor of music at the University of
Oxford.

Sir Frederick Arthur Gore Ouseley was born in
London, in 1825, and was the son of Sir Gore Ouse-
ley, a man of considerable and varied attainments,
who for several years was British ambassador to the
Persian court, and who, being musical, was one of
the chief founders of the Royal Academy of Music
in London.

As a child Sir F. Ouseley was considered a prod-
igy, and there are many amusing anecdotes concern-
ing his deeds. He was an object of interest to
Queen Victoria, Mendelssohn, Malibran, Lablache,
and other musicians who were celebrated in the days
of his youth. He had absolute pitch and a very ob-
serving nature. The deeds of prodigies grow monot-

THE ORGAN AND ITS MASTERS 195

onous, and we will pass over that period and come to
the more serious business of his life.

Sir Frederick took his degree of Bachelor of Arts
at Oxford in 1849, and became curate of St. Paul's
Church, Knightsbridge, London. In 1850 he took
his degree of Bachelor of Music, resigned his curacy,
and went to the Continent to travel, and to make a
special study of church music and organs. During
this tour he played on almost every celebrated organ
in Western Europe. On his return to England he
immediately took steps to carry out his great desire,
which was to establish a church in which the service
should be of a high musical order. In 1856, after
many difficulties had been overcome, the college and
church of St. Michael and All Angels, at Tenbury,
Worcestershire, was dedicated. On this occasion
Arthur Sullivan, then one of the children of the
Chapel Royal, sang the solos in the newly formed
choir, and Sir George Elvey, of St. George's Chapel,
Windsor, played the organ.

Sir Frederick Ouseley devoted his fortune to the
maintenance of this church and the college, in which
the choristers received their education. It has been
a musical nursery, and, at least during the life of its
founder, a musical centre which attracted many of
the rising men. Sir John Stainer was organist of St.
Michael's Church for three years, and did space per-
mit, a long list of well-known names of those who

196 THE ORGAN AND ITS MASTERS

have been directly or indirectly connected with the
church might be produced.

It was, however, as professor of music at Oxford
that Sir Frederick Ouseley wielded his most direct
influence on the musical life of his time, for in this
capacity a vast number of young men came under his
personal supervision. There were many complaints
in the profession that an amateur should be appointed
to this professorship, but it is doubtful whether any
one could have been selected who would have been
of greater benefit to the cause of music. Independ-
ent of the miserable stipend, he was able to root out
many abuses which had accrued during years of mu-
sical lethargy. Bogus degrees were stopped, exami-
nations became real, and a distinct advance was made.

In addition to the professorship at Oxford, Sir
Frederick Ouseley was rector of St. Michael's
Church, precentor of Hereford Cathedral, and he
became canon of Hereford Cathedral in 1886.
Three years later he was stricken down, in the midst
of his labours, by apoplexy, and a busy, useful, and
noble life was ended.

Sir Frederick Ouseley was the composer of much
music, the greater part of which was for the Church,
though at the age of eight he wrote an opera. For
the organ he wrote eighteen preludes and fugues,
three andantes, and a sonata. His works on har-
mony, counterpoint, musical form, etc., his articles

THE ORGAN AND ITS MASTERS 1 97

for Grove's Dictionary are well known, but perhaps
the most valuable possession was the excellent collec-
tion of old and rare works and manuscripts which he
acquired and left to St. Michael's College. This
includes the identical copy of the score of the
"Messiah" from which Handel conducted the first
performance at Dublin in 1742; all the treatises of
Gafurius, including the earliest and rarest one, pub-
lished in Naples in 1480 ; the famous " Organ Book "
of Adrian Batten ; and very many more rare and val-
uable works too numerous for mention here.

The organ in St. Michael's Church, which was re-
modelled several times, is one of the finest instru-
ments outside of cathedral or concert-hall. It
contains four manuals and sixty-four speaking stops.

A very good story concerning Doctor Corfe, of
Christ Church, Oxford, and Sir F. Ouseley in his
student days was told by Doctor Stainer : "Being
a musician of the old type. Doctor Corfe rarely
changed his stops during the psalms. Ouseley and
his young friends got so accustomed to one partic-
ular quality of tone that they named it the ' Corfe-
mixture.' Ouseley knew that Doctor Corfe always,
at the close of one service, prepared his stops for the
giving out of the chant at the next. Moreover, Doc-
tor Corfe was fond of long walks, and was in the
habit of rushing into the organ-loft after service had
begun and just in time to place his hands on the

198 THE ORGAN AND ITS MASTERS

keys. This offered a temptation for the undergrad-
uates which was irresistible. Watching Corfe safely
out of the cathedral one morning, Ouseley put in
all the arranged stops, and then drew on each man-
ual the most horrible and startling combination he
could think of. When evening service commenced,
Ouseley and his friends stood behind a pillar to hear
the effect. Just as the psalms commenced. Doc-
tor Corfe hurried in and placed his hands on the
keys. Everybody in the church gave a start except
Doctor Corfe himself, who placidly held down the
chord while one by one he put in the objectionable
registers, and gradually drawing his usual stops, once
more returned to the old ' Corfe-mixture.' "

An organist who did much in the cause of his art
was Doctor William Spark, a native of Exeter (1825-
1897). Spark became a chorister at Exeter Cathe-
dral, where his father was a lay vicar. At the age of
fifteen he was articled to Samuel Sebastian Wesley
for five years. When Wesley left Exeter for Leeds,
he took Spark with him, and the young man soon
became deputy organist of the parish church. Sev-
eral other church appointments followed, but in
1850, on Wesley's removal to Winchester, Spark
was appointed his successor at St. George's Church,
Leeds.

Within a year of his appointment Doctor Spark
had organised the Leeds Madrigal and Motet Society.

THE ORGAN AND ITS MASTERS 199

A short time afterward he established the People's
Concerts, and this led to the building of the Town
Hall. For the Town Hall it was necessary to have
a fine organ, and a magnificent instrument was
erected by Gray and Davison from the designs of
Henry Smart and Doctor Spark. This organ (of
four manuals and one hundred and ten stops, — one
of the finest in the world) was opened in 1859, ^^^
Doctor Spark was appointed Borough organist, though
not without a severe competition. Here he gave
organ recitals twice a week.

Doctor Spark was a man of great activity, and
besides some excellent organ pieces and other com-
positions, he wrote several books, and was editor of
The Orgaiiisfs Quarterly Jojirnal, and of a large
number of Batiste's organ compositions.

James Coward, who for many years was organist
at the Crystal Palace, was born in London, in 1824.
He was a chorister in Westminster Abbey, afterward
was appointed organist at St. Mary's Church, Lam-
beth, St. George's, Bloomsbury, and St. Magnus the
Martyr, in succession. He was also organist of the
Sacred Harmonic Society, and grand organist of
the Grand Lodge of Free Masons. He held the
Crystal Palace appointment from 1857 until his
death in 1880.

William Thomas Best was for many years con-
sidered the first among English concert organists.

200 THE ORGAN AND ITS MASTERS

He was the son of a solicitor of Carlisle, and was
educated with a view to becoming an engineer. Mu-
sic, however, proved to be a stronger attraction, and
he began to take lessons of Young, the organist of
Carlisle Cathedral. He subsequently took some les-
sons of other organists, but they were men of the old
stamp, and unprogressive. For all practical purposes
Best was self-taught. He obtained his first organ
appointment at the age of fourteen, at the Pembroke
Road Baptist Chapel, Liverpool, where the organ
possessed the first CC pedal keyboard in Liverpool.
In 1847 Best was appointed organist of the Church
for the Blind at Liverpool, and he was also organist
of the LiveqDool Philharmonic Society, under whose
auspices he made his first appearance as a concert
organist, in 1849.

A few years later Best was in London, where he
came prominently before the public as organist of
the Panopticon (now the Alhambra), in Leicester
Square, where a fine four-manual instrument had
been erected. He was also organist, for a short time
only, of the churches of St. Martin-in-the-Fields, and
Lincoln's Inn Chapel. His London appointments
were brief, but his playing of Bach and other classi-
cal composers attracted much attention and added
greatly to his fame. It is interesting to know that
his Panopticon engagement came to an end because
he refused to accede to the request of the director,

WILLIAM THOMAS BEST

THE ORGAN AND ITS MASTERS 201

that after the entertainment he should play the afl-
dience out to the strains of the "Wedding March."

The brevity of his London engagement was soon
compensated for by his appointment, in 1855, to be
organist of St. George's Hall, Liverpool, at a salary
of ^300, which was afterward increased to ^^400,
This position he held for nearly forty years, and his
recitals earned for him a world-wide reputation.

During his long career Best held several church
appointments, but his chief work was at St. George's
Hall, and in opening numerous organs, of which the
most important was that at the Albert Hall in Lon-
don, in 1 87 1. His appearances at the Handel Festi-
vals on Selection days were eagerly looked forward
to by organists, who used greatly to enjoy the sang-
froid with which he would insist upon, and dog-
gedly keep to, his own tempi of Handel's organ
concertos, regardless of the exertions of the con-
ductor in trying to keep the band and the organ
together.

Althoug-h he made several contributions to the
literature of organ music. Best's fame does not rest
upon his compositions. His " Organ Arrangements "
— full and yet faithful to the original score — are un-
surpassed. He edited Handel's organ concertos, and
Mendelssohn's and Bach's organ works. His " Art
of Organ-Playing," especially Part H., "Studies for
the Pedal," is an invaluable aid to the organ-student.

202 THE ORGAN AND ITS MASTERS

He also edited Handel's "Messiah," in which he
incorporated Mozart's additional accompaniments.

In 1880 Best was offered the choice between
knighthood and a pension from the Civil List of
;^ioo per annum, — and chose the latter, as he dis-
liked titles.

In 1890 Best went to Australia and gave twelve
recitals on the huge organ in the Town Hall, Sydney,
— the largest organ in the world. In 1894, owing to
continued ill-health, he resigned his position at St.
George's Hall, and three years later he died.

Away from the organ, Best was very much of a
recluse. He abhorred social functions, and repelled
all attempts to induce him to associate with his pro-
fessional brethren. He was a master of ironical wit,
and many stories are current of his pungent remarks
when expressing his opinions, which were as out-
spoken as they were amusing.

Best had a number of pupils, many of whom be-
came prominent, but during the later years of his
life he did not teach. George E. Whiting was one
of his most noted American pupils.

As before stated, there are many amusing anec-
dotes concerning Best's remarks, and we may be for-
given if one is quoted. This one was made in 1894,
when Best was giving some information regarding
the introduction of Mendelssohn's organ music into
England. After explaining how the younger genera-

THE ORGAN AND ITS MASTERS 203

tion of organists adopted the CC pedal-board, which
made the performance of Bach and Mendelssohn pos-
sible, he continued : " Adams, with enormous contra-
puntal talent, regaled himself by serving up one or
two of Bach's '48, adding a droning pedal wJien his
bunions ivere propitious. ' '

The following sketch of Best's character was writ-
ten by Mr. Everett E. Truette, in the Etude :

" Best was greatly maligned by many of his own
countrymen as being cross and testy, disagreeable,
and the like. His disposition was peculiar and made
for him many enemies. He was a man of very strong
ideas, and never hesitated to give vent to his opin-
ions, oftentimes exaggerating to increase their force-
fulness.

"At one time I was chatting with him in his
study. We had been talking about organ-builders,
and I casually mentioned the name of an English
builder with whom he had recently held a wordy
disagreement. Best burst forth : ' That man X.
does not know how to build an organ. Look at

the organ in Hall ! He put the solo stops

on such a high pressure of wind that it was neces-
sary to chain them to the wind-chest to keep them
from being blown out through the roof.' I roared,
and he too burst out laughing. Ten minutes later
he was enthusing over the fine work of this same
builder in another organ.

204 "^^^ ORGAN AND ITS MASTERS

"When I first wrote to him, asking if he would
give me lessons, he sent me a sharp reply, stating
that he did not teach at all, and ended his letter :
'You Americans are very fond of studying music
in Germany and afterward coming to England to
rub off the Teutonic rust.' I wrote back that, as
I had been studying with Guilmant for six months
or so, I thought the ' Teutonic rust ' was about all
rubbed off. He then wrote me a most cordial letter,
inviting me to visit him, and sent me a great pack-
age of his music. This was the beginning of a
friendship which lasted to his death, and I have
many pleasant recollections of long chats with him,
when, in spite of his natural irritability, we had
many pleasant discussions on organ topics. I always
found him cordial, warm-hearted, enthusiastic, and
entertaining.

"To the organ-student he is best known by his
* Arrangements from the Scores of the Great Mas-
ters,' in which he brought out so prominently a fea-
ture which was peculiarly his own, and in which he
showed that the organ is in itself capable of repro-
ducing orchestral effects, without transcending its
proper functions or descending to trickery. This
he made possible only by his complete knowledge
of its resources. Though he was the first and great-
est in his methods of reproducing orchestral effects,
he repeatedly expressed himself as believing that the

THE ORGAN AND ITS MASTERS 205

organ was an instrument of its own kind, producing
effects that no orchestra could produce, and should
be treated accordingly."

This book would be incomplete without some
mention of the great organ in the town hall at Syd-
ney, New South Wales, which is the largest organ
in the world, having five manuals and one hundred
and' twenty-eight speaking stops. Its organist too
must be reckoned among the celebrated concert
organists of the world, and though a Belgian, his
appropriate place in this account seems to be that
which is nearest to his instrument.

M. Auguste Wiegand was elected to fill this
position in 1891, from amongst one hundred and five
competitors. Bom at Liege, in Belgium, in 1849,
Wiegand had developed sufficient musical talent by
the time he was seven years of age to receive the
appointment of organist at the church of St. Giles
in his native city. In the following year he began
his career as a concert performer, giving exhibitions,
in conjunction with his sister, as a pianist and violin-
ist. In 1859, he was admitted to the Conservatoire
at Liege, being the successful one of eighteen candi-
dates. At the age of twelve he received his " primus
accessit " for skill at the organ, and at fifteen he was
awarded second prize. He gained the first prize in
1867, and the silver medal for organ-playing as well
as first prize for piano-playing in the following year.

206 THE ORGAN AND ITS MASTERS

The gold medal, both for piano and organ playing, he
received in 1869, also first prize in harmony, counter-
point, and reading" at sight from orchestral score.
In 1870, he was appointed professor at the Li^ge
Conservatoire, and remained there for six years,
when he resigned in order to devote his time to con-
cert playing. Wiegand also began study under
Lemmens, who died very shortly after. Then the
Belgian government recognised his talent by allowing
him to study under Alphonse Mailly, professor at
the Royal Conservatoire at Brussels, and organist
to the King of Belgium. He was also appointed a
member of the jury of organ competitions.

In 1878 M. Wiegand seriously began his career
as a concert organist, and before receiving the ap-
pointment to Sydney he had given five hundred and
fifty-three recitals in Holland, Belgium, England,
and France, of which the five-hundredth v^ras given
on the great organ in the Albert Hall, London.

In Australia M. Wiegand led a very active life,
and in his first season gave one hundred and fifty-
six recitals on his great instrument, besides playing
on organs in different parts of the colonies. He
held his position until the beginning of 1902.

M. Wiegand's repertoire is immense, and includes
all the standard organ works and a great number of
operatic arrangements and music of a popular nature,
showing that the taste of the people in Australia is

THE ORGAN AND ITS MASTERS 207

much the same as elsewhere and is not yet educated
up to the strictly legitimate in organ music.

In regard to the organ itself, one or two re-
markable features may be noticed in the following
specifications.

Completed in 1890, by Messrs. Hill & Son, of
London, it was heralded as the " largest and grandest
organ ever built or ever to be built." It certainly is
a monster, and undoubtedly no larger organ will be
attempted for some time to come. The success of
the instrument from a musical point of view is some-
what doubtful. This gigantic instrument has five
manuals, one hundred and twenty-six speaking stops,
forty-three combination movements (pistons and ped-
als) and twenty-one mechanical accessories.

The chief feature of the instrument, never before
attempted, is a sixty-four foot reed-stop in the pedal, —
con tra-trom bone, — a " striking reed " of full length,
with wooden tubes. Inasmuch as the lowest notes
of a thirty-two-foot stop are hardly distinguishable,
— they QXQ felt more than heard, — extending the
compass an octave lower cannot and does not pro-
duce a result to warrant the outlay. The lowest
note has only eight vibrations a second, and the
distinct vibrations are noticeable, thus preventing a
pure musical tone.

In the appended specification it will be noticed
that a large amount of duplication has been necessary

208

THE ORGAN AND ITS MASTERS

to bring the number of stops up to the monster re-
quirements, and that the redundancy of the diapasons
would seem otherwise unnecessary.

The town hall is very large, with a seating capacity
of six thousand. The organ is blown by an eight-
horse-power gas-engine. The instrument cost about
sixty thousand dollars. Several changes have been
made since the organ was first completed, and the
accompanying specification shows the organ as it
now stands :

Swell Organ.

Double open diapason . i6

Bourdon l6

Open diapason .... 8
Viol di gamba .... 8

Salicional 8

Dulciana 8

Vox angelica .... 8

Hohl-flote 8

Octave 4

Gemshorn 8

Harmonic flute ... 4
Rohr-flote 4

ft.

Twelfth 2f ft.

Fifteenth 2 "

Harmonic piccolo . . . i "

Mixture IV. rks.

Furniture V. "

Trombone 16 ft.

Bassoon 16 "

Horn 8 "

Cornopean 8 "

Oboe 8 "

Clarion 4 "

Vox humana .... 8 "

Contrabourdon . .

Bourdon

Double open diapason
Open diapason (i). .
Open diapason (2). .
Open diapason (3). .
Open diapason (4). .
Harmonic flute . .

Great Organ.

32 ft. Viola 8

16 " Spitz-flote 8

16 " Gamba 8

8 " Hohl-flote 8

8 " Rohr-flote 8

8 " Quint

8 " Harmonic flute ... 4

8 " Principal 4

ft.

5i

CONSOLE OF THE ORGAN IN THE TOWN HALL,
SYDNEY, N. S. W.

THE ORGAN AND ITS MASTERS

209

Octave 4 ft.

Gemshom 4 "

Twelfth 2f "

Fifteenth 2 "

Mixtures .... III. rks.
Cymbal IV. «

Sharp mixture . . IV. rks.
Furniture .... V. "
Contraposaune ... 16 ft.

Posaune 8 "

Trumpet 8 "

Clarion 4 "

Solo Organ.

Quintaton . .
Open diapason
Violin diapason
Flauto traverse
Doppel-flote
Stopped diapason
Viola ....
Octave . . .
Flauto traverso
Harmonic flute

16 ft.

8
8
8
4
4
4

Flauto traverso .
Contrafagotto . .
Cor anglais . . .
Corno di bassetto
Orchestral oboe .
Harmonic trumpet
Octave oboe . .
Contratuba . . .

Tuba

Tuba clarion . .

2

16
8
8
8
8

4
16

8
4

ft.

Viol d'amour . . .
Unda maris (II. rks.)
Lieblich gedacht . .
Viol d'amour . . .

Echo Organ.

8 ft. Flageolet 2 ft.

8 " Glockenspiel . . . IV. rks.

8 " Echo dulciana cornet IV. "

4 " Basset horn 8 ft.

Contradulciana
Open diapason
Gamba . . .
Dulciana . . .
Flauto traverso
Hohl-flote . .
Lieblich gedacht
Octave . . .
Violina . . .
Voix celeste

Choir Organ.

16 ft. Lieblich-flote .... 4 ft.

8 " Twelfth 2f «

8 " Fifteenth 2 "

8 " Dulcet 2 "

8 " Dulciana mixture . . III. rks.

8 " Bassoon 16 ft.

8 " Trumpet 8 "

4 " Clarinet 8 "

8 " Oboe 8 "

8 " Octave oboe .... 4 "

2IO THE ORGAN AND ITS MASTERS

Pedal Organ.

Double open diapason, Violoncello 8 ft.

wood 32 ft. Bass flute 8 "

Double open diapason, Twelfth Sl "

metal 32 " Fifteenth 4 "

Contrabourdon ... 32 " Mixture II. rks.

Open diapason, wood . 16 " Mixture III. "

Open diapason, metal .16 " Mixture IV. "

Violone 16 " Contratrombone, wood 64 ft.

Gamba 16 " Contraposaune, metal . 32 "

Dulciana 16 " Posaune 16 "

Bourdon 16 " Trombone 16 "

Quint io| " Bassoon 16 '♦

Octave 8 " Trumpet 8 "

Prestant 8 " Clarion 4 "

8 pneumatic combination pistons to great.

8

<(

(t

" swell.

7

<i

((

" choir,

7

c<

«

" solo.

3

«

«

" echo.

6 combination pedals

to

pedal.

4

((

((

great.

Choir tremulant.

3 pedals for

pedal

coupl

ers.

Sir Herbert Stanley Oakeley, an excellent organ-
ist, was born at Ealing, near London, in 1830, and
educated at Eton and Christ Church College, Oxford.
He was a pupil in harmony of Doctor Stephen Elvey,
and studied the organ under Schneider in Dresden,
completing his musical studies at Leipzig, and under
Breidenstein at Bonn. In 1865 he was appointed
Reid professor of music at Edinburgh Univ^ersity,
which position he held until 1891, and in which his

THE ORGAN AND ITS MASTERS 2 1 1

successful exertions were recognised by the bestowal
of numerous distinctions. He was knighted in 1876,
and received honorary degrees from many universi-
ties in Great Britain, Canada, and Australia.

Under his management the Reid concerts received
a great impulse and developed into a three days'
festival ; the concerts of the university musical society
and his own excellent organ recitals had a wide-spread
educational influence. He was regarded as an organ-
player of exceptional ability, and a good composer,
but only a few of his compositions for organ have
been published.

One of the most highly respected of English or-
ganists was Doctor George Mursell Garrett, who was
born at Winchester in 1834 and died at Cambridge
in 1897.

Doctor Garrett was a pupil of Elvey and Wesley
and was assistant organist at Winchester Cathedral
from 185 I to 1854, when he received the appointment
of organist at the cathedral at Madras, which he held
for two years. Returning to England, he was ap-
pointed to St. John's College, Cambridge, and in
1873 he succeeded Doctor Hopkins as organist to
the university, where he became also lecturer on
harmony and counterpoint, and examiner in music.

Doctor Garrett wrote a number of pieces for the
organ, besides an oratorio, five cantatas, and other
church music.

212 THE ORGAN AND ITS MASTERS

Doctor Edmund Hart Turpin is one of the most
prominent English concert organists of the present
day. He was born at Nottingham, in 1835, and
became organist of a church in Nottingham at the
age of thirteen. He gave his first organ recital
at the Hyde Park E.xhibition of 185 1, and soon
afterward he obtained a London appointment. In
1869 he became organist of St. George's Church,
Bloomsbury, a position which he retained until 1888,
when he was appointed to St. Bride's, Fleet Street.
In the following year the degree of Mus. Doc. was
conferred upon him by the Archbishop of Canterbury.

Doctor Turpin has been long connected with the
musical press of London, and was editor of the
Musical Standard for some years, and later of
the Musical News. He is noted as a lecturer,
and has written several works, including some organ
pieces. In 1875 he became Hon. Secretary of the
College of Organists, to which institution he has
devoted much time.

Frederick Archer, who was considered one of the
greatest of organ virtuosi, was born at Oxford, Eng-
land, in 1838. His musical talent first became man-
ifest when he was about eight years of age, and he
was soon able to play at sight any composition which
came within the range of his fingers, besides which he
showed remarkable aptitude for improvising.

At the age of nine he became a chorister at Mar-

THE ORGAN AND ITS MASTERS 21 3

garet Chapel, London, where, before long, he was
able sometimes to officiate as organist, although he
had not yet taken an organ lesson.

On leaving Margaret Chapel, he was appointed
organist at St. Clement's Church and at Merton
College, Oxford, holding both appointments simulta-
neously, and a few years later he travelled on the
Continent, giving exhibitions of his marvellous skill
as a performer. On his return to England, he was
made organist at the Panopticon in London, where,
with a concert instrument of unusual size and excel-
lence, he soon distinguished himself. In May, 1875,
the new organ in Alexandra Palace was completed,
— an instrument having four manuals and eighty-nine
stops, — and he became organist. On this instru-
ment Archer gave over two thousand recitals, never
repeating a programme ; his remarkable power of sight
reading, either from orchestral score or other scores,
made his repertoire practically inexhaustible. He was
a man of the finest physique, and his appearance be-
fore his instrument was very imposing. Some of the
effects which he produced have never been accom-
plished by any other organist, for the simple reason
that he was gifted by nature with fingers of unusual
length. This peculiarity gave him the immense ad-
vantage of being able to play on two, and occasionally
on three manuals simultaneously, with the same hand.
His executive facility, both with hands and feet, was

214 THE ORGAN AND ITS MASTERS

marvellous, and passages of enormous difficulty and
rapid tempi were played by him without the slightest
apparent effort.

In 1880 Mr. Archer came to America, first settling
in Boston, and then going to Brooklyn, where he
became organist of Henry Ward Beecher's church,
and later of Doctor Storr's church in New York,
which he left to go to the Church of Incarnation,
He was also editor of a musical journal called the
Keynote.

Leaving New York, Mr. Archer was for a time
organist of the St. James's Roman Catholic Church in
Chicago,

In the year 1896 he accepted the terms offered by
the Carnegie Library Commission, of Pittsburg, Penn-
sylvania, and became city organist, and musical direc-
tor of Carnegie Music Hall. His indefatigable energy
and enthusiasm were readily appreciated in that city,
and his musical influence was wide-spread. His organ
recitals, musical lectures, and concerts made his name
famous in America,

He died in 1901,

Mr. Archer was a man of immense activity, and it
is recorded that, after the rebuilding of the Alexandra
Palace, and the erection therein of the new and mag-
nificent organ, he frequently played to audiences
numbering as high as twenty thousand. His duties
as musical director of the palace were, at the same

THE ORGAN AND ITS MASTERS 215

time, enormous, and in addition to conducting cho-
ruses and orchestral concerts he had many engage-
ments at distant places.

While resident in New York he gave ninety-two
organ recitals at Chickering Hall, besides which he
inaugurated almost every large new organ erected in
the United States and Canada.

At Pittsburg, during his first three seasons, he
gave two hundred and twenty-three recitals in Car-
negie. Hall, and played six hundred and twenty-three
organ compositions, and seven hundred and forty-two
orchestral transcriptions, to total audiences of one
hundred and ninety-five thousand people. He also
gave a great number of lectures, and was largely
instrumental in founding the Pittsburg Symphony
Orchestra.

It was conceded that Archer revolutionised the art
of organ-playing in America. His success was gained
by recognising the necessity of popularising the in-
strument. Programmes made up of heavy scholastic
works have always proved wearisome to a general
audience, and sometimes even to a musical audience.
Archer adapted the organ to the requirements of
orchestral compositions, while at the same time he
was one of the finest exponents of classical organ
music.

Sir John Stainer was one of the most active and
eminent musicians of his day. Born in London

2l6 THE ORGAN AND ITS MASTERS

(1 840- 1 901), he was educated entirely in England,
entering the choir of St. Paul's Cathedral at the age
of seven, when he was already a remarkable player
and sight singer. In 1854 he was appointed organist
and choirmaster of St. Benedict and St. Peter's
Church. He studied organ under George Cooper,
and in 1856 he was selected by Sir PYederick Ouse-
ley as organist for the newly founded college and
church of St. Michael, Tenbury, where he remained
three years, during which time he matriculated at
Christ Church, Oxford, and took his degree of Bach-
elor of Music. Being appointed organist of Magda-
len College, Oxford, he left Tenbury, and entered at
Oxford as an undergraduate, discharging his duties
as organist while working for his B. A. degree,
which he took in 1863. On the death of Doctor
Elvey he was appointed organist of the University
of Oxford, and conductor of two musical societies.
In 1865 he took his degree of Doctor of Music, and
in the following year that of Master of Arts, and
became one of the examiners for musical degrees.
From 1872 to 1888 he was organist of St. Paul's,
London, succeeding Sir John Goss,

In 1888 he was knighted, and in 1889 was
appointed professor of music at Oxford University.
Various other positions held by him were professor
of organ and harmony of the National Training-
School of Music, and later principal of the same.

THE ORGAN AND ITS MASTERS 21/

When this institution became the Royal College of
Music, he was one of the professors. He was also
government inspector of music in the training-
schools. In 1878 he was made a Chevalier of the
Legion of Honour.

His principal works are the oratorio, " Gideon ; "
the cantatas, "The Daughter of Jairus," "St. Mary
Magdalene;" "The Crucifixion;" numerous an-
thems, services, primers, and, in conjunction with
W, A. Barrett, the well-known " Dictionary of
Musical Terms."

The Reverend Frederick Scotson Clarke (born in
London, 1840, died in London, 1883) was a prolific
composer for the organ. He was an organ pupil of
E. J. Hopkins, and studied music both at the Royal
Academy and in Paris, He also studied for the
ministry at Oxford and at Cambridge, and was
organist at Exeter College, Oxford. He next stud-
ied music again at Leipzig and Stuttgart, and on
his return to England founded the London Organ
School in 1873. He was also the representative
English organist at the Paris Exposition in 1878.
For the organ he wrote fifteen marches, forty-eight
voluntaries, and six communions, besides offertories
and other pieces.

Sir Walter Parratt holds at the present day the
much desired position of master of music to the king,
also that of organist at St. George's Chapel, Windsor.

2l8 THE ORGAN AND ITS MASTERS

Sir Walter Parratt is a native of Hucldersfield, in
Yorkshire, where his family has been long and hon-
ourably associated with the musical life. In fact,
the musical history of Huddersficld is said to have
commenced with the year 1812, when Thomas Par-
ratt, a youth just passing out of his teens, became
the first organist of the parish church, beginning his
duties on Christmas day of that year. He officiated
at fifty Christmas services, and died in March, 1862,
when he was succeeded as organist by his son Henry,
who has played on' forty similar occasions, father
and son having officiated for ninety years without
a break.

Walter Parratt is the younger brother of Henry,
and displayed much precocity. At the age of seven
he was able to play the organ for the serx'ice in the
church, and at ten he played the whole of the forty-
eight preludes and fugues of Bach by heart.

At eleven years of age he was appointed organist
of Armitage Bridge Church, and not long afterward
he secured the position at St. Paul's Church, Hud-
dersfield, where he remained until 1861, when he
received the appointment of organist at Witley
Court, in Worcestershire, in the service of Lord
Dudley. Here he had opportunity for study, and
remained for seven years. In 1868 he became or-
ganist of the parish church at Wigan, Yorkshire.
In 1872 he went in a similar capacity to Magdalen

THE ORGAN AND ITS MASTERS 219

College, Oxford, and in 1882 to St. George's Chapel,
Windsor, succeeding Sir George Elvey, He became
professor of organ at the Royal College of Music in
1883, was knighted in 1892, and the following year
was appointed master of music in ordinary to Queen
Victoria.

Sir Walter Parratt is gifted with a wonderful
memory, concerning which many remarkable feats
are recorded. Besides being an excellent musician
he is the possessor of much literary knowledge and
ability, has contributed articles to Grove's Dictionary,
and the chapter on music in Humphrey Ward's
"Reign of Queen Victoria." His musical composi-
tions include several organ pieces.

As a staunch upholder of the legitimate in organ-
playing he elicited a reply to one of his lectures a
few years ago from Mr. Best, who, as one of the
organists most active in the use of arrangements,
was perhaps better fitted than any one else to defend
the practice. As the question of popularising organ-
playing is still as actively open as ever, it may be
permissible to repeat such portions of the controversy
as may seem to have a general, and not too personal
bearing on the question.

In 1854 Mr. Chorley, the critic of The Athenceum
(London), made a fierce attack on "arrangements," in
the following paragraph :

"An organist who analyses an orchestra and its

220 THE ORGAN AND ITS MASTERS

varieties with the view of representing them on the
organ, wastes his time, loses his way, and does not
know his duties and their hmits. The organ can
hardly be called *an orchestra in itself (even of
wind instruments), and the fancy of devoting it to
arranged music has brought it into low estimation.
How shall an orchestra, the basis of which is the
brisk and pungent stringed quartet, be represented
by its coarser and heavier tones, among which every
staccato becomes a 'quack,' and every rapid arpeggio
a yawn or scream, — according as the stops are of
wood or metal, — and every chromatic scale a con-
fusion, analogous to the blot of mixed tints on a
painter's palette ? "

This attack was answered at some length by Henry
Smart. We cannot follow out his argument in full
detail, but a few sentences here and there will give
the gist of his argument.

" About all this there is, doubtless, some truth ;
yet so overlaid with misrepresentation, or rather, non-
comprehension of the facts, as to become really value-
less. If an organist 'analyses an orchestra,' etc.,
with the view of reproducing on his instrument pre-
cisely the effect of the score, for example one of
Beethoven's symphonies, he certainly 'loses his way'
and deserves all TJie AthencBiim may say of him.
And it is unfortunately true that a great many
organists, not thoroughly conversant either with the

THE ORGAN AND ITS MASTERS 221

orchestra or their own mstrument, do commit this
very obvious blunder. If, however, it is intended
absolutely to prohibit all adaptations for the organ —
however artistically contrived — of modern orchestral
and vocal music, we must emphatically dissent from
the conclusion." Then follows a long argument of
which the following is the summing-up :

" In fine, without possessing the power of pre-
cisely copying (the orchestra, or mihtary band, or
chorus), the organ can render more closely a general
resemblance, or rather, perhaps, can suggest more
forcibly an idea of the effect of an orchestral score,
than any other instrument ; and whoever seeks more
from it than this, either ' loses his way ' in the pur-
suit, or was a bad judge of his means in the beginning."

In regard to the statement that the " fancy of
devoting it to arranged music has brought it into
low estimation," Mr. Smart says : '* To the players
it has opened a new vista of ideas ; without in the
least deteriorating their love for, or their capability
of executing, the music of Bach, it has increased
their mechanical accomplishment both in finger skill
and the management of their instrument, and has
refined and spiritualised their style ; while to its
urgent demands for improvement, the organ itself is
almost indebted for the immense ameliorations in
tone and mechanism it has of late years displayed."

In answer to the critic's concluding sentences, Mr.

22 2 THE ORGAN AND ITS MASTERS

Smart considers them " very sharp writing, but very
flat nonsense."

Many years later, in fact about 1891 or 1892, an
article hostile to " arrangements " was written by Mr.
Walter Parratt, which was answered by Mr. Best,
whose arrangements were alluded to as " examples
of misapplied skill."

Mr. Best began his reply by asserting that on the
only occasion he heard Mr. Parratt perform upon
the organ he essayed a transcription of Mendels-
sohn's overture " Ruy Bias." He goes on to say
that it is necessary that all organ arrangements
should exhibit, in an artistic manner, every impor-
tant feature of the score, and never be debased for
performance on imperfectly constructed instruments
by players more or less in the state of pupilage. He
mentions Bach as the father of all arrangers, as he
accommodated Vivaldi's violin concertos to the
" expressionless German organ of his day with its
intractable pedal bass." Then follows a long list
of continental and English organists who have
"arranged" for the organ. This list includes such
names as F. Lux, F. Liszt, A. Guilmant, E. Prout,
E. J. Hopkins, J. Stainer, H. Smart, and F. Archer,
all of whom would hardly select music unsuited for
organ effect.

He continues thus: "Mr. Parratt urges 'that the
erection of large concert-hall organs and the neces-

THE ORGAN AND ITS MASTERS 223

sity for pleasing Saturday-night audiences, has had a
disastrous influence over organ music, as in the ma-
jority of such programmes two-thirds at least are
arrangements of orchestral and choral works.' It
must be remembered, however, that in endeavouring
to raise the musical taste of the humbler classes, the
municipal authorities of our large towns did not in-
tend their concert organs to be restricted to the per-
formance of preludes, and fugues, and somewhat dry
sonatas. As is the case with orchestral concerts of
a popular character, the higher forms of composition
have to be introduced both warily and gradually. . . .
It is gratifying to note that a better state of things
exists now, and if we could obtain anything approach-
ing Mozart's great Fantasia in F-minor, all would be
well. Modern German composers are now timidly
adding crescendo and diminuendo to their organ
pieces, the builders being compelled to advance with
the times and provide their lifeless stacks of pipes
with the means of musical expression common to all
English and French organs. . . . The works of Mr.
Parratt's favourite composers, — Herren Merkel and
Rheinberger, — though in undeniable organ form, are
apt to pall upon cultivated ears. Their numerous
sonatas, in particular, bear a strong family likeness,
the chief themes being encumbered with a wearisome
technical development, too often proclaiming the
manufactured article rather than the presence of the

224 ^-^^ ORGAN AND ITS MASTERS

creative impulse, while the enormous length of many
of the movements effectually prevents a frequent
performance."

Albert Lister Peace, a native of Huddersfield
(1844), exhibited a precocity almost equal to that of
Crotch or even Mozart. He could name with unerr-
ing accuracy individual notes and combinations of
notes when sounded, before he was five years old.
When only nine he was appointed organist of the
parish church of Holmfirth, and subsequently of
other churches in that neighbourhood. In 1866 he
became organist of Trinity Congregational Church,
Glasgow, and soon afterward he was appointed
organist to the university, besides filling other posi-
tions. He graduated at Oxford as Bachelor of Music
in 1870, and as Doctor in 1875.

As an organ-player Doctor Peace stands at the
head of his profession in England. He was ap-
pointed organist of Glasgow Cathedral in i ^^i, when
a new organ by Willis was erected, embracing all the
most recent improvements in organ construction, and
on this and the organ in Glasgow New Music Hall he
was frequently heard, as well as in all parts of Great
Britain. In 1897 he was elected organist of St.
George's Hall, Liverpool, to succeed Best in what is
considered the finest organ position in England, and
makes demands upon the virtuosity of the organist
as no other appointment does.

THE ORGAN AND ITS MASTERS 22$

Sir John Frederick Bridge, the present organist of
Westminster Abbey, is a native of Oldbury, Worces-
tershire (1844), and at the age of six became a chor-
ister at Rochester Cathedral, where he remained for
nine years. He was then articled to J. Hopkins
until 1864. After some further study under Sir
John Goss, he was appointed organist of Trinity
Church, Windsor. He took his degree of Bachelor
of Music at Oxford in 1868, and in the following year
became organist of Manchester Cathedral. He took
his doctor's degree in 1874, and shortly after was
appointed deputy organist at Westminster Abbey,
succeeding to the full position on the death of Mr.
Turle, in 1882. He was knighted in 1875.

Sir John Bridge is professor of harmony and
counterpoint at the Royal College of Music, and has
written some valuable text-books on counterpoint and
on organ accompaniment of the choral service. He
has been prominently connected with various festi-
vals, notably that of Queen Victoria's Jubilee in
1887, when he arranged all the music, and composed
a special anthem, for which he received the thanks
of her Majesty, and the Silver Jubilee Medal. He
also, as organist of Westminster Abbey, arranged the
music for the coronation of King Edward, in 1902.

Joseph Cox Bridge, the brother of Sir John F.
Bridge, is also an eminent organist holding the post
at Chester Cathedral, to which he was appointed in

226 THE ORGAN AND ITS MASTERS

1877. He took a prominent part in resuscitating the
Chester Triennial Festivals, which had been dormant
for some fifty years. He is the conductor of several
musical societies in the north of England, and has
gained much reputation by giving free organ recitals
in Chester Cathedral on Sunday evenings.

Arthur Seymour Sullivan was born in London,
May 13, 1842. He was the son of an Irish band-
master and clarinet player. He began his own musi-
cal career as one of the children of the Chapel Royal,
where he was noted for his sweet voice and his sym-
pathetic style of singing. There, too, he began his
work as a composer, publishing, in 1855, "O Israel,"
a sacred song. In July, 1856, he was the first Men-
delssohn scholar in the Royal Academy of Music,
where he studied under Goss and Sterndale Bennett
until he went to Leipzig in the fall of 1858. In that
institution he was a pupil in various departments of
Plaidy, Hauptmann, Richter, Rietz, and Moscheles.
He returned to London in 1861, bringing with him
his music to Shakespeare's " Tempest," which was
produced at the Crystal Palace the following year.

The biography of Sir Arthur Sullivan contains
slight reference to the organ, yet he, as well as
Mendelssohn, Sir Frederick Ouseley, and others who
were not by profession organists, was a remarkable
performer on the king of instruments.

On his return from Leipzig, or shortly afterward,

THE ORGAN AND ITS MASTERS 22/

Sullivan was appointed organist of St. Michael's,
Chester Square, London, and remained there until
1867. During his tenure of that office, he designed
an organ for a new church in the west of London,
of which his friend, Cranmer Byng, had been ap-
pointed vicar. He also undertook to find an organ-
ist, but when the day of consecration arrived, he
had not found his organist and volunteered to play
for two or three Sundays himself. The result was
that he remained there for two or three years.

An amusing feature of the consecration ceremony
was this : — The hour fixed for the consecration was
twelve o'clock, and all was ready, — the church full
and the choir and clergy waiting. But the bishop,
through some misunderstanding, did not arrive until
one o'clock. In order to occupy the attention of the
congregation, Sullivan began to play appropriate mu-
sic on the organ. First he played " I waited for the
Lord," and later he went on with a song of his own,
entitled "Will he come.?" The congregation fully
appreciated the appropriateness of the selections.

This little anecdote may well be followed by
another from a different part of the world, — San
Francisco. The organist (Doctor H. J. Stewart) had
invited a friend to sing after the sermon, during the
offertory. It had not occurred either to the organist
or his friend that the service, being a special one in
the cause of missions, would call for more than one

228 THE ORGAN AND ITS MASTERS

sermon, so at the conclusion of the minister's dis-
course, they made themselves ready for their perfor-
mance. Another clergyman came forth and began
to preach, and following him another, and another.
In all six clergymen delivered themselves of their
ideas and experiences on the subject of missions, and
then the soloist gave his selection, " It is enough !
Lord, now take away my life."

Arthur Sullivan was one of four organists to play
at the reopening of the beautiful organ of St. Michael's
Church, Tenbury, in 1869, when the other three
organists were Sir Frederick Ouseley, Doctor, after-
ward Sir John Stainer, and Langdon Colborne, later
organist of Hereford Cathedral. Although St. Mi-
chael's was two miles from the nearest village and rail-
road, the church attracted people from miles around,
and was crowded to suffocation, and there was a feast
of organ playing such as seldom falls to the lot of
man to hear.'

One of the most prominent English organists of
the present day is George Riseley, a native of Bristol
(1845), ^vho was educated as a chorister in the cathe-
dral of his native town, and became articled to the
organist, J. D. Corfe, at the age of seventeen. Dur-
ing the next ten years he was organist at various
churches in Bristol and Clifton, at the same time act-

* The writer was a chorister at St. Michael's at the time of this
inauguration.

THE ORGAN AND ITS MASTERS 229

ing as deputy at the cathedral, and in 1876 he suc-
ceeded Mr. Corfe. In 1870 he was appointed organist
at Colston Hall, Bristol, where he commenced giving
weekly recitals of classical and popular music.

It was in these recitals at Colston Hall that Riseley
built up his reputation. He was a pioneer in recitals
in his native town. The organ at Colston Hall was
a very inadequate, limited instrument of two manuals,
yet Riseley laboured indefatigably to make his work
successful. The result of his efforts was shown by
the fact that the directors of the hall ordered an
instrument of four manuals, which was built by Willis
and cost ;^2,5oo. This instrument was opened by
W. T. Best in 1870, and Riseley was appointed
organist, a position which he held until the destruction
of the building by fire in 1898. In the following
year Mr. Riseley resigned his appointment at Bristol
Cathedral, with which he had been connected as
chorister and organist for forty-seven years, and
accepted the conductorship of the Queen's Hall
Choral Society and the Alexandra Palace, both
London appointments, his success with the Bristol
Society of Instrumentalists, and the Bristol Choral
Society having given him a reputation as a conductor.

Sir George Clement Martin, the present organist
of St. Paul's Cathedral, was not an infant prodigy.
In fact it is almost a pleasure to relate that he could
not play a note until he was sixteen years of age.

230 THE ORGAN AMD ITS AfASTERS

Born at Lambourn, in Berkshire, in 1844, he was
not a musical boy, nor of a musical family, except
that his father sang tenor in the village church. He
was not particularly interested in music until Sir
Herbert Oakeley visited the church and played some
Bach fugues upon the organ, which was a fine instru-
ment. Then he set to work to teach himself, and in
a few months his opportunity arrived in the non-
appearance of the village organist one evening. Mar-
tin offered to play, and the result was that he was
allowed to officiate one evening a week. He now
took a course of twelve lessons, and shortly afterward
another visitor, noticing his earnestness and talent,
advised him to go to Sir John Stainer, then organist
at Magdalen College, Oxford. He became Stainer's
pupil, riding to Oxford, twenty-two miles, every week,
on horseback.

Martin now became the regular organist of the
church at Lambourn. He organised a choral society
and gave standard works. For this purpose he
enlisted the services of the village brass band, who
attended all rehearsals, a circumstance which led to
his writing, in later days, church music with accom-
paniment for military band instruments.

After taking his degree of Mus. Bac. at Oxford,
Martin was appointed organist at Dalkeith Palace,
and during his tenure of this office he was, for part
of the time, organist of St. Peter's Church, Edinburgh.

THE ORGAN AND ITS MASTERS 23 1

In 1873 Sir John Stainer was appointed organist
of St. Paul's Cathedral, and he sent for his former
pupil to act as " master of song," a duty which was
occasionally varied by acting as deputy organist. In
1876, on the death of George Cooper, Martin became
sub-organist at St. Paul's, and when Sir John Stainer
resigned in 1888, Doctor Martin (who had received
his degree in 1883) became full organist. In this
capacity he had charge of the music for the Diamond
Jubilee of Queen Victoria, for which he received the
honour of knighthood.

Sir George Martin's contributions to church music
are valuable, dignified, and impressive, but he has not
yet pubhshed anything for the organ as a solo instru-
ment.

Mr. Edwin H. Lemare inherited his musical tend-
encies from his father, from whom he received his
first lessons. At the early age of eleven he won the
Sir John Goss Scholarship awarded by the College
of Organists. He then pursued his studies at the
Royal Academy of Music under Sir George Macfar-
ren, Walter Macfarren, Doctor Steggall, and Doctor
E. H. Turpin.

His first appointment was at the church of St.
John the Evangelist at Finsbury Park. Later he
was engaged as organist to the Park Hall, Cardiff,
the competition with one hundred and twenty appli-
cants being decided in his favour. He was soon

232 THE ORGAN AND ITS MASTERS

offered the position of organist in the parish church,
Sheffield, where he remained six years, giving no less
than three hundred recitals in the north of England.
Returning to London, he was appointed organist and
choirmaster to Holy Trinity Church.

During five years he was organist and choirmaster
at St. Margaret's, making the music of that church
famous by his peculiar personality. Mr. Lemare is
a Fellow of the Royal College of Organists and an
Honourable Fellow of the Royal Academy of Music.

He has marked facility in command of the man-
uals and pedals, and he has an unusual sense of colour
effects. These effects are at times surprising and
often beautiful. He is distinctly an orchestral
player ; he considers the organ as an instrument that
may imitate the orchestra.

In 1 90 1 Mr. Lemare paid a visit to the United
States, giving a number of recitals in various cities.
He was shortly afterward offered the position of
organist at the Carnegie Institute, Pittsburg, Penn-
sylvania, then vacant through the death of Frederick
Archer. Mr. Lemare accepted the terms offered,
and assumed his duties in the spring of 1902.

The work of the majority of English organists has
been so closely connected with the music of the
church, that it is impossible to regard them simply
as organ-players. Those who held the most impor-
tant positions were undoubtedly appointed largely on

THE ORGAN AND ITS MASTERS 233

account of their ability as performers, but holding
those positions, it was necessary for them to write
anthems and other music suitable for the service of
the church.

At the time of the sixtieth anniversary of Queen
Victoria's reign, an excellent survey of the music of
the Victorian era was written by Mr. Joseph Bennett,
the eminent English critic, and a few extracts from
his articles will enable us to sum up the respective
merits of some of the chief organists of that period.

Mr. Bennett begins by showing that at the com-
mencement of Queen Victoria's reign deep discon-
tent prevailed concerning the condition of church
music. Of the many quotations from periodicals of
the time we need repeat but one : " The choirs of
our cathedrals, with some few exceptions only, are in
a most crippled and enfeebled condition. They are
living skeletons of what were once vigorous and
effective bodies."

The Church as a whole was on the verge of an
immense reform. The old state of lifelessness, of
perfunctory labours and dead services, was about
to pass away, and all things were to become new at
the call of men who, once bitterly assailed and de-
nounced, have since been justified as the children
of wisdom.

"There were many contributories to the great
change in church music which took place at the

234 ^-^^ ORGAN AND ITS MASTERS

beginning of the Victorian era, and all are entitled to
more or less recognition and praise ; but I shall not
be far wrong in attributing much of the moving influ-
ence to Mozart, acting through his pupil Attwood,
and continuing through Attwood's pupil, John Goss.

" Of Attwood a competent writer said, just after
his death : ' His Italian education and want of
intimacy with the great Protestant school of ecclesi-
astical music, as exhibited in the works of J. S.
Bach, led him to reject the energetic dissonances
derived from the organ ; hence his church vocal
music, although marked by a serene and elegant out-
line, is without that unction and raciness of spirit
which distinguishes the kindred effusions of his con-
temporaries Charles and Samuel Wesley. . . . His
strength lay in the elegance of his cantilena and the
pure orchestral construction of his harmonies. The
anthems "Be Thou my Judge, O God," "Grant,
we beseech Thee," "Bow down Thine ear," "Teach
me, O Lord," and the Cantate Domino, are severally
learned and elaborate compositions, while for cor-
rectness and chastity they are models which stand
unequalled in modern times.'

"Allowing for a certain measure of elegiac fer-
vour, the foregoing estimate of Attwood is cor-
rect, and we must recognise in his church music
a decided step toward the freedom, pliancy, and
grace, and, as regards structure, simplicity, which the

THE ORGAN AND ITS MASTERS 235

sacred compositions of various masters displayed
later on. It is, however, as the master of Goss
that Attwood did, perhaps, the greater service. No
conjunction could have been more fit and fortunate
than that of this teacher and this pupil. The nature
of Goss might have been specially prepared for the
seed which Attwood dropped into it. . . , How
strange it seems that not till long after his appoint-
ment as organist of St. Paul's (1838) did the full
measure of his powers appear. ... His anthem, ' O
praise the Lord,' written for the enthronement of the
Bishop of London in 1856, was so favourably received
that Novello and Company gave Goss practically
carte blanche with regard to others. ' Christ our
Passover ' and ' Behold I bring you good tidings '
speedily followed, and then the whole musical world
became alive to the fact that there was a great
genius in its midst — a genius whom circumstances
had kept silent until he had arrived at an age when
most men cease to speak. . . . From that time until
within a few years of his death he enriched the
stores of church music with works heard every day
in one or other of our cathedrals — works which
preach the truths of religion more forcibly than
many sermons."

" The source of another powerful influence in shap-
ing Victorian church music must now be dealt with.
. . . Samuel Sebastian Wesley. This remarkable

236 THE ORGAN AND ITS MASTERS

musician, whose reward was infinitely smaller than
his deserts, made himself known as a gifted com-
poser long before Goss conspicuously took the field.
It may be doubted, nevertheless, whether Wesley
has exerted so great an influence upon church music
as the gentle and gracious organist of St. Paul's.
He stood nearer to the rank of genius than Goss ;
he was erratic, daring, and altogether a ' terrible
fellow ' to those who were at ease in the musical
Zion. Such characters often stand in their own
light, and Goss, who was not terrible at all, made
easier way, though coming later, than did the bold
spirit who went before. . . . His musical lineage
differed materially from that of his sometime rival.
If Mozart was Goss's grandfather, Sebastian Bach
stood in the same relation to Wesley ; but of course
these declarations of kinship must be taken with
many grains of salt. . . . From an early age Wes-
ley, as a matter of course, was grounded in Bach.
His father was the apostle of the great cantor in
England, and never ceased calling upon men to
believe his gospel. Bach, howeveri though an influ-
ence, and a precious one, with Wesley, was not the
determining influence. The bent of Wesley's mind,
though susceptible to the claims of antique grandeur
and profound scholasticism, was toward the then
modern in style and expression. . . . His influence
was thrown upon the side of Spohr and Mendelssohn,

THE ORGAN AJVD ITS MASTERS 237

" A reviewer of 1 840 says of Wesley : ' That
Wesley and Mendelssohn should fall on similar
trains of ideas and similar modes of arranging and
working them out, is in no wise astonishing, if the
parity of their musical education and likings be con-
sidered. Both early imbibed a reverence for the
grandest kind of ecclesiastical music and the severest
style of organ performance ; into both was the wis-
dom of old Bach instilled at the earliest period of
their musical existence, and both prove by their writ-
ings that their love for his sublime compositions is, at
this day, in no degree diminished. Thus it is evident
that the striking similarities to which we have re-
ferred cannot be rightly viewed otherwise than as
kindred inspirations of like minds journeying toward
the same object and lighted by the same guide-
star."

" Apart from what are merely personal character-
istics," continues Mr. Bennett, "the church music of
the time now present offers a spectacle of well-nigh
complete agreement as regards determining features
and in respect of essential points. It appears to have
settled down upon lines prepared by former masters,
who, as we have seen, tempered the austerity and
scholasticism of a still earlier day with sentiment
and grace, the winning expression and subduing
influence derived mainly from illustrious foreign
sources."

238 THE ORGAN AND ITS MASTERS

E. J. Hopkins, the late organist of the Temple
Church, is quoted as a safe guide to the younger
generation of his fellow workers. Sir John Stainer
inclines over much to sentimentahsm, but the power
which he wielded in shaping the ends of church
music was great. Sir George Martin draws more
liberally upon the technical resources of his art, his
utterances are strongly coloured, his devices are
sometimes very bold, he uses the organ as for or-
chestral effects in accompaniment, and he does not
shrink from presenting difBculties to the voices.

Sir Herbert Oakeley is mentioned as one who has
made worthy contributions to church music, and Sir
Joseph Barnby is bracketed for popularity with
Sir John Stainer, while Doctor Garrett is mentioned
as one whose manly straightforwardness, simplicity,
and expressiveness were remarkable. Many other
composers are touched upon, but in Mr. Bennett's
review there is no mention of organ music apart
from the general music of the church.

CHAPTER X.

AMERICAN ORGANISTS

The progress of organs and organists in the
United States during the nineteenth century has
been remarkable. While it has no doubt been
greater than that of any other country, there is
no reason as yet to claim that America is on a
level with some of the older countries. But when
other nations were adults in art, North America was
still, for the greater part, a howling wilderness. In
1789 the population of Boston, for instance, was
eighteen thousand, and the settled portion of the
United States was confined to a comparatively nar-
row strip running along the Atlantic coast. The
majority of the great cities of to-day were not yet
thought of, or some existed as trading posts remote
from civilisation.

The history of the organ in America may be said
to commence with the importation of the old Brattle
organ, so called after Thomas Brattle, treasurer of
Harvard College, who left the said organ to the
Brattle Square Church when he died in 17 13.

239

240 THE ORGAN AND ITS MASTERS

The good people of the church, however, voted
" that they did not think it proper to use said organ
in the public worship of God," so the rejected instru-
ment went, according to the terms of the will, to
King's Chapel, Boston. By the congregation of this
chapel the organ was accepted, not without some
hesitation, and was erected in 17 14, when an Eng-
lishman, Mr. Enstone, of Tower Hill, London, was
invited to become organist, at a salary of thirty
pounds a year. Further than this little or nothing
is recorded of Mr. Edward Enstone, the first organ-
ist in America. The old Brattle organ is, probably,
the only one of the imported instruments of the
eighteenth century that exists to-day in its original
form, and is, therefore, an admirable object-lesson.
He who views it at the present day cannot help won-
dering why this small, unostentatious box of whistles
should have created so much commotion in the col-
ony. It remained in use in King's Chapel until
1756, when it was sold to St. Paul's Church, New-
buryport, where it was in constant use for eighty
years. It was next sold to St. John's Church, Ports-
mouth, New Hampshire, and has, during recent
years, occupied a position near the chancel in the
chapel of that church. In 1901 this old instrument
was brought to Boston, and exhibited at the exhibition
of musical instruments held in the new Horticultu-
ral Hall.

THE BRATTLE ORGAN

THE ORGAN AND ITS MASTERS 24 1

In the course of seventy-seven years the congrega-
tion of the Brattle Square Church decided to surren-
der to the growing demand for music in the church,
and they bought an organ of two manuals and sixteen
stops. This instrument, also, was made abroad, and
before it was landed and installed there was much
bitterness of heart in the congregation. One wealthy
member was so disturbed by the idea of such an
innovation that he offered to pay the whole cost of
the instrument into the treasury, for the benefit of
the poor, if it should be thrown overboard in the
harbour. The old Brattle organ had six stops, and a
comparatively small number of pipes.

The next organ imported was larger (there were
several between the Brattle organ and the Brattle
Square Church organ), and it had thirteen stops and
four hundred and ninety-eight pipes. There was
tribulation also over this instrument, for it was
offered by Bishop Berkely to the town of Berkely,
which was named after him. But this organ was
also rejected, and was then presented to Trinity
Church, Newport, Rhode Island, where it was used
for one hundred and eleven years. The first organ-
ist of Trinity Church was Charles Theodore Par-
chebel, of Boston, who assisted in setting up the
instrument. After this period of service it was " re-
constructed " by Erben of New York. This pro-
cess consisted of retaining the case and two stops

242 THE ORGAN AND ITS MASTERS

for the original instrument, while the other stops,
with the action and keyboard, were put into a pine
case, and the organ thus constructed was presented
to St. Mary's Church, Portsmouth, Rhode Island,
in 1850, by Miss Grace Gibbs. A few more years
rolled by, and in 1880 the interior of the organ in
Trinity Church, Newport, was removed and taken to
Kay Chapel, in the same city. This time the two
stops of the original organ went also. In the old
case a new organ was built.

It is unnecessary to record all the instruments im-
ported from abroad during the eighteenth century.
There were several, but in nearly all cases they were
comparatively insignificant instruments, judged by
the standard of the present day. Indeed, the major-
ity of the instruments in Europe were not to be
compared with those of to-day.

The first organ built in America is said to have
been that erected by John Clemm in Trinity Church,
New York, in 1737, and it contained three manuals
and twenty-six stops. Eight years later Edvv^ard
Brom field built an organ, in Boston, which had two
manuals and several hundred pipes. The intention
was to have twelve hundred pipes, but unfortunately
Bromfield died before the organ was complete. This
is said to be the first pipe organ built in New Eng-
land, and it is recorded, by one who saw it, that this
organ contained better workmanship, as to pipes and

(Courtei^ of the builders, Hook-Hastings Co.)

THE ORGAN OF THE MUSIC HALL, CINCINNATI, O.

/

THE ORGAN AND ITS MASTERS 243

keys, than anything of the kind imported from Eng-
land. But the most surprising part of the account is
that Bromfield built this organ, which contained such
superior workmanship, after having only a few times
looked into the inside of two or three organs that
came from England.

This instrument was placed in the Old South
Church, Boston, but during the siege of Boston it
was removed for safety to a store, — where it was
burned.

Organ-building was now started, and made good
progress, but no organ of great importance was built
until 1853, when Hook and Hastings built an instru-
ment of four manuals, seventy stops, and three thou-
sand and ninety-six pipes, which was installed in
Tremont Temple, Boston, and may be considered the
first instrument built on this continent which could
be considered a concert organ. Others followed, as
the Cincinnati Music Hall organ for instance, and
at the present day many beautiful instruments are
manufactured in America, which will stand compari-
son with the contemporary productions of the Old
World. This is as far as we need trace the organ-
building just now, and we must return to earlier days
and organists.

In the book on " Olden-Time Music," by Henry
M. Brooks, there are numerous references to early
organs and early organists, chiefly in New England.

244 ^■^^ ORGAN AND ITS MASTERS

The earliest organs were placed in Episcopal, or
"Church of England" churches, but a reference to
Stiles's diary says that on the Sunday preceding July
10, 1770, an organ was played in the Congregational
Church at Providence, Rhode Island, and that was
the first instance of such music in any "dissenting
church " in all British America.

Among the notices of concerts we find one of
"Mr. Dipper's Publick Concert," on February 3,
1761 ; and Mr. Dipper was organist of King's Chapel.
On April 27, 1786, a concert complimentary to Mr.
Selby was given, and at a concert, given for chari-
table purposes on January 10 of the same year, Mr.
Selby played "the Second Organ Concerto of Mr.
Handel." The programme was long, and the nine-
teenth number was " Mr. Selby will then play a Solo,
Piano, on the Organ."

The twenty-first selection was, " Lastly the musi-
cal Band will perform a favourite Overture by Mr.
Bach." This latter is a slight digression, but quaint.

This Mr. William Selby had been organist of
Trinity Church, Newport, in which town he had also
taught dancing on Mondays and Thursdays at 4 P. m.
On August I, 1774, he was announced in the New-
port Mercury, as organist of Trinity Church, in con-
nection with a concert of vocal and instrumental
music to be given at the court-house, but on Septem-
ber 16 of the same year a concert was announced for

THE ORGAN AND ITS MASTERS 245

the benefit of Mr. Knoetchel, organist of Trinity-
Church, so it may be surmised that the dancing
school was not regarded favourably by the church
people. In 1796 Mr. John L. Burkenhead, a blind
man, became organist of Trinity Church, Newport,
and held the position for eight years.

Mr. Selby's name is frequently mentioned, as organ-
ist of the Stone Chapel in Boston, and as a composer
of odes, anthems, etc.

In 1799 the Coliimbimi Centinel contains a long
announcement of Mrs. Von Hagen, a music-teacher,
who "at the age of eleven performed at the court of
The Hague, with universal applause ; she was for
several years Organist at the churches at Namur,
Middleburg, Vlissingen, and Bergen op den Zoom.
She also teaches on that instrument, as well Church
Music as Lessons Sonatis Concertos, and by theory,
the Fantasie." Truly a remarkable woman, — one
might say incomprehensible. Lessons were given by
this unusual person for the paltry sum of six dollars
for every eight lessons. In January, 1800, an an-
nouncement is made of " A Funeral Dirge on the
death of General Washington ; the music composed
by P. A. Von Hagen, Organist of the Stone Chapel."

Another organist whose name appears in this book
of olden-time music is Mr. Mallet, organist to the
Rev. Mr. Kirkland's congregation, who announced
a "spiritual concert," to be given at the New

246 THE ORGAN AND ITS MASTERS

South Meeting-house, Summer Street on May 31,

1798.

One Hans Gram, a German musician, was organist
of the Brattle Church in 1793.

Rayner Taylor, a good organist, harpsichord-player,
singer, and composer, a native of England, brought
up in the Chapel Royal, came to America in 1792,
and after travelling considerably, settled down in
Philadelphia, where he became a recognised musical
authority.

Doctor G. F. Jackson followed his schoolmate
Rayner, and came to America in 1796. He was
also a schoolmate of Doctor Arnold, whose music
was at that time very popular. Doctor Jackson first
settled in Norfolk, Virginia, and gradually made his
way to Boston, stopping some time in Alexandria,
Baltimore, Philadelphia, and New York. He reached
Boston about 18 12, and became organist of the
Brattle Street Church. After the war, during which
he retired to Northampton, Massachusetts, he became
organist of King's Chapel, then of Trinity Church and
then of St. Paul's Church. In his day he was con-
sidered the leading teacher of Boston and was very
much respected. He gave concerts and oratorios,
and appears to have been a very energetic man, with
a very excellent opinion of himself, and a rampant
temper.

Edward Hodges was one of the numerous English

THE ORGAN AND ITS MASTERS 247

organists who came to America in the first half of
the nineteenth century. Born at Bristol in 1 796, he
became organist of several churches in Bristol before
seeking his fortune in America. He took his degree
at Cambridge in 1825, and went to Toronto in 1838.
In the following year he was appointed organist of
St. John's Chapel, New York, where, in 1846, he
inaugurated the new organ in Trinity Church and
became its organist. In 1 863, he returned to England,
and died at Clifton four years later.

His daughter, who died in New York in 1896, was
organist of several churches in that city and Phila-
delphia, and his son, rector of St. Paul's church,
Baltimore, is also a fine organist.

While Boston seems to have been the first musical
city in the United States, notwithstanding the Puri-
tanical element, which opposed everything in the
nature of music or enjoyment. New York began to
advance during the first half of the nineteenth cen-
tury. Trinity Church, New York, possessed one
of the earliest organs imported into this country.
This was replaced in 1791, by an instrument built by
Holland of London, which contained three manuals
and eighteen stops. About 1825, several New York
churches had instruments of good size. That of St.
Paul's Church, built in London, had three manuals and
nineteen stops. St. George's church had an organ
built by Hall in 1821, which contained three manuals

248 THE ORGAN- AND ITS MASTERS

and pedal keyboard, and twenty-eight speaking stops,
and was considered the largest and most complete in
the State.

The chief organists of New York at this time were
Moran, Blondell, and Taylor.

For some years Henry Christian Timm was a
prominent organist in New York. He held various
positions, but was organist of the Unitarian Church
on Broadway for eighteen years, and of All Soul's
Church for two years. Mr. Timm was a native of
Hamburg (181 1-92), and came to America in 1835.
He was a fine pianist, and gave concerts in numerous
cities. He was also connected with various operatic
enterprises, in which he did not meet with much
success. For a time he was organist and musical
director of Grace Church, at Charleston, South
Carolina. For many years he was president of the
New York Philharmonic Society, and was one of its
most ardent supporters, but his forte was that of ac-
companist to singers and instrumentalists.

The Handel and Haydn Society of Boston, being
almost the oldest, and certainly one of the most dig-
nified and successful of American musical societies,
brings us in touch, during its history, with several
interesting organists. Going back to' the year 181 5,
we find that at the first performance of oratorio, held
in the "Stone Chapel on School Street," Mr. Stock-
well sat at the organ. Not much is known in these

THE ORGAN AXD ITS MASTERS 249

days about Mr. Stockwell, but he died in 18 17, when
Doctor Jackson was invited to become organist to
the society. Doctor Jackson did not accept the posi-
tion offered him by the Handel and Haydn Society.
On the contrary, he said he would have nothing to
do with the society unless he could have the whole
control. Doctor Rayner Taylor, of Philadelphia, was
therefore induced to play the organ at several per-
formances, but in 18 18 Samuel Cooper was elected
organist. The following year, S. P. Taylor, of New
York, was elected organist, but he resigned in 1820.

The society now offered the position to Miss
Hewitt, the daughter of a music publisher, organist,
etc. Miss Hewitt was regarded as a talented musi-
cian. She had been brought before the public at the
age of seven as a pianist. She married a man named
Ostinelli, and became the mother of a singer of whom
Boston was particularly proud, Signora Biscaccianti,
one of the first American singers to gather artistic
laurels in Europe.

Miss Hewitt remained as organist of the society
for ten years, when the need of one able to cope with
the difficulties of large works being felt, Mr. Zeuner
was elected.

Mr. Zeuner officiated at the organ until 1838, when
he was elected president of the society. He did not
retain this office long, for in 1839 he left Boston and
settled in Philadelphia, where he died about 1857,

250 THE ORGAN AND ITS MASTERS

The next organist was A. W. Hayter, a native of
Gillingham, England, and a pupil of Doctor Corfe.
He was born in 1799, and was organist at Hereford
for some years previous to 1835, when he was called
to New York to become organist of Grace Church.
Two years later he was appointed organist of Trinity
Church, Boston, which post he held for twenty-five
years. Mr. Hayter was an English church organist
of the strictest kind, both as to creed and playing.
He devoted much time to drilling the chorus of the
Handel and Haydn Society, and he practically con-
ducted the performances from the organ bench. It
was the function of the president in those days to
wield the conductor's baton, and while this was still
done as a matter of form, Hayter was in fact the con-
ductor. It is related of Mr. Hayter that he consider-
ably astonished the people of Boston by actually
playing with his feet a figure of two notes (tonic and
dominant), in a chorus by Regini. This will give an
idea of the condition of organ-playing when Mr. Hay-
ter reached this country.

In 1857, his son, George F. Hayter, was appointed
organist to the society, and Mr. J. E. Goodson, an
accomplished English organist and musician, was
appointed conductor — the first regular conductor
of the society.

J. S. Dwight mentions Mr. Goodson as one of the
first to play Bach fugues in Boston, — at Tremont

THE ORGAN AND ITS MASTERS 25 I

Temple. He remained in Boston only a few years
and then sought his fortune in the West.

In 1852 F. F. Mueller was elected organist of the
Handel and Haydn Society. Mr. Mueller was con-
sidered a very good organist, and he presided at the
instrument for five years. Mr. G. E. Whiting tells
of his playing the concerto in F of Rinck as an open-
ing piece at one of the Handel and Haydn Society's
concerts. It was a time-honoured custom to begin
with an organ piece.

In 1857 Mr. J. C. D. Parker was elected organist,
and he held the office for two years only,

James Cutler Dunn Parker, born in Boston in
1828, was one of the batch of young Americans who
went abroad about the middle of the last century,
and when they returned brought with them a leaven
of high ideals in music. Mr. Parker was educated
for the law, and was a graduate from Harvard Uni-
versity. In 1 85 1 he abandoned the law and went to
Leipzig to study music under Moscheles and Plaidy
for pianoforte, Hauptmann for harmony, and Richter
and Rietz composition.

On his return to Boston, in 1854, Mr. Parker at
once took a leading position amongst musicians. He
for;Tied the "Parker Club" in 1862, for the study of
vocal works. In 1864 he was appointed organist of
Trinity Church, a position which he held until 1891,
resigning soon after Doctor Phillips Brooks was made

252 THE ORGAN AND ITS MASTERS

Bishop of Massachusetts. For many years Mr.
Parker was one of the most prominent teachers of
pianoforte in Boston. He became a member of the
faculty of the New England Conservatory of Music
when Doctor Tourjee was labouring to build up that
institution. For ten or more years Mr. Parker has
given up actual teaching and has been examiner for
that conservatory. He has written some excellent
music, chiefly choral works, but nothing especially
for the organ.

On Mr. Parker's resignation from the Handel
and Haydn Society, in 1859, Mr. B. J. Lang was
elected to the office of organist, and has been
one of the most prominent organists of Boston
during the past half century. Mr. Lang was bom in
Salem, Massachusetts, in 1837. He was appointed
organist of the Somerset Street Church (Doctor
Neale's), in 1852. Three years later he went to
Germany to study, and on his return at once took
a prominent position in Boston musical circles. He
was organist of the Old South Church for twenty
years, then of the South Congregational Church, and
for more than the past twenty years, of the historic
King's Chapel. He was organist of the Handel and
Haydn Society for twenty-five years. For many years
Mr. Lang's activities have been extensive, and he has
had more to do in the way of conducting choral
societies, etc., than in organ-playing, but in 1863, when

THE ORGAN AND ITS MASTERS 253

the Music Hall organ was inaugurated, he was one
of the performers, and afterward gave recitals upon
the great instrument.

In 1898, Mr. Lang was elected conductor of the
Handel and Haydn Society, and his position as
organist was filled by Mr. Hiram G. Tucker, a native
of Cambridge, Massachusetts, and a pupil of Mr.
Lang. Mr. Tucker is organist of the Second Church,
Copley Square. He is noted particularly for the
excellence of his accompaniments. He is also con-
ductor of the Boston Singing Society, founded by
him in 1901, and is one of the most prominent musi-
cians of Boston.

The erection of the great organ in Boston Music
Hall, in 1863, was an event of great importance in
the musical history of the United States, for it not
only gave a great stimulus to organ-building, as may
be seen by the number of fine instruments built
shortly after this event, but it also gave a great im-
petus to legitimate organ-playing.

The great majority of organs, previous to this one
in Music Hall, were very defective instruments, with
pedal keyboard of an octave and a half ; a great many
of the stops were short, and there were many imper-
fections which robbed the organs of the qualities
which they were supposed to possess. Upon these
instruments the best playing was impossible. Mr.
George James Webb, well-known in Boston musical

254 THE ORGAN AND ITS MASTERS

circles, in the first half of the last century, and presi-
dent of the Handel and Haydn Society in 1840, —
himself an organist, — is said to have declared that
previous to the building of the Boston Music Hall
organ, there was not an organist in Boston capable
of playing a first-class fugue by Bach, The only
instrument in Boston which could be called a con-
cert organ was that in Tremont Temple.

Mr. Webb's statement was rather sweeping, though,
in a general sense, true. But when the Music Hall
organ was installed a number of organists were found
who could play Bach fugues, even upon that great
unwieldy instrument, which was so slow of speech that,
as an organist once remarked, " You have to begin
playing a quarter of an hour before the recital com-
mences, in order to be on time."

The history of the Boston Music Hall organ may
be briefly told. The idea of placing in the Music Hall
an organ of the highest type was due to Doctor
George Baxter Upham (who died in New York early
in 1902), and he, being president of the Music Hall
Association, laboured earnestly to bring about the
fulfilment of his desire. In 1853, a committee, of
which Doctor Upham was chairman, went to Europe
to see the most noted organs and the leading organ-
builders. They were much impressed with the
qualities of the organ then being built by Walcker,
of Ludwigsburg, for Ulm Cathedral, and though no

THE ORGAN OF THE OLD MUSIC HALL, BOSTON, MASS.

THE ORGAN AND ITS MASTERS 255

definite action in the matter was taken until 1856,
the opinion of the committee was in favour of E. F,
Walcker and Son.

In 1856, the Music Hall corporation decided to
appropriate ten thousand dollars, if an additional sum
of fifteen thousand dollars could be raised by public
subscription, it being estimated that it would cost
twenty-five thousand dollars to import such an organ
as would " stand, it is to be hoped, not for decades
only, but for centuries of years."

Before the organ was ready for shipment the War
of the Rebellion had broken out, and only after many
difficulties and delays did the instrument reach its
destination. It was erected, but, owing to the cir-
cumstances into which the country had been
plunged by the war, the cost of the instrument,
when ready for inauguration, was nearly seventy
thousand dollars.

On October 31, 1863, a private test of the great
instrument took place in the presence of the stock-
holders and their friends. On this occasion the
organists who played were John H. Willcox and B. J.
Lang of Boston, and Eugene Thayer of Worcester,
Massachusetts.

On the following Monday (November 2), the
inauguration took place with solemn ceremony. In
order to show what could be played by organists
of that time, the following was the programme ;

256 THE ORGAN AND ITS MASTERS

PART I.

1. Ode, recited by Miss Charlotte Cushman.

2. Opening of the organ by Herr Friedrich Walker.

3. a. Grand Toccata in F Bach

b. Trio Sonata in E-flat, for two manuals and pedal . Bach

John K. Paine, Organist of the West Church, Boston, and
Professor of Music at the Harvard University.

4. Grand Fugue in G-minor Bach

W. Eugene Thayer of Worcester.

PART II.

1. Grand Double Chorus, " He led them through the deep,"

and Chorus, " But the waters overwhelmed their enemies,"
from " Israel in Egypt." ..... Hdtidel
George W. Morgan, Organist of Christ Church, New York.

2. Grand Sonata in A, No. 3 . . . Mendelssohn
B. J. Lang, Organist of the Old South Church and of the

Handel and Haydn Society.

3. a. Lamentation in Parasceve .... Palestrina

b. Kyrie and Sanctus, from a Mass . . . Palestrina

c. Movement from the Anthem " O Give Thanks "

Ptircell
Dr. S. P. Tuckerman, Organist at St. Paul's Church.

4. Offertoire in G . . . . . . Lefcbiire-Wely

John H. Willcox, Organist at the Church of the Immaculate

Conception.

5. Hallelujah Chorus Handel

G. W. Morgan.

The Boston Music Hall organ immediately became
an object of interest to all visitors to the city. Re-
citals were frequently given upon it, and it helped
greatly to increase, or at least maintain, Boston's
reputation as a musical centre.

THE ORGAN AND ITS MASTERS 2$/

A few years rolled by, and other interests arose.
The Symphony Orchestra was founded, and it was
discovered that the great organ interfered seriously
with the acoustic properties of the hall. In order
to secure the best results from the orchestra it was
decided to sacrifice the organ, a decision which
was not reached without bitter opposition. In 1884
the organ was sold and removed. It was bought by
the Hon. William Grover, in the interest of Doctor
Eben Tourj^e, founder and director of the New Eng-
land Conservatory of Music. The intention was to
build a large hall and install the organ therein, and
keep it up to its former function of " Mecca," for
music students and visitors from all over the country.

There was some difficulty about securing the land
on which to build a hall, and the matter was obliged
to rest for a time, during which the organ was stored
away in a shed. In the meantime. Doctor Tourjee
fell into bad health, and died — in 1891. In 1896
Mr. Grover also died, and the executors decided to
sell the instrument.

The price realised was fifteen hundred dollars.

Thirty-four years after its installation, this great
and fine instrument, which was to stand not for
decades only, but for centuries of years, was sold
at auction, in the presence of about twenty people,
for the miserable, paltry sum of fifteen hundred
dollars.

258 THE ORGAN AND ITS MASTERS

This seems to be one of the most painful instances
of the rapidity of progress in American life, — some-
thing of which the nation can be proud, perhaps, but
which has its sad moments.

Many old organs have been improved and re-
modelled from time to time, and thus kept up to
date, but the history of the- Boston Music Hall
instrument goes to show that when once an organ
is pulled down and removed, the progress of a few
years will render it hopelessly behind the times.

The organ in the Shawmut Congregational Church
in Boston is one which supports this theory, and is
besides an instrument of considerable interest, be-
cause of the fact that it was the first organ in
America in which the tubular-pneumatic action was
used, though only to a limited extent. This organ
was built in 1866 and had three manuals, sixty-three
stops, of which fifty-three were speaking stops, and
three thousand four hundred and eighty-five pipes.
It has been repaired from time to time, and in 1 899
was remodelled, and is quite likely to last as long
as the church, if proper care is taken of it. No such
dismal waste as that of the old Music Hall organ
is on record.

Samuel Parkman Tuckerman was one of the
prominent organists of America during the middle of
the nineteenth century. Born at Boston in 18 19, he
became a pupil of Carl Zeuner, and in 1 840 became

THE ORGAN AND ITS MASTERS 2$g

organist and choirmaster of St. Paul's Church in his
native city. In 1849 he went abroad and spent
several years studying the organ in various English
cathedral towns, taking the degree of Mus. Doc, at
Lambeth, in 1853. When he returned to America
he gave many lectures of church music, and his name
is to be found frequei>tly in records of organ-playing
in and near Boston. For many years he resided in
Switzerland and in England. He wrote some church
music, and edited various collections of hymn and
other church music. His death occurred at Newport,
Rhode Island, in 1890.

George Washburn Morgan, who was born in Eng-
land, at Gloucester, in 1822, played an important
part in the development of organ-playing in the
United States. He was a precocious child, and is
said to have played an entire service in the cathe-
dral of his native town at the age of eight. He went
through the usual training, and held various positions.
In London he made some public appearances at
Exeter Hall and elsewhere.

Mr. Morgan arrived in New York in 1853, and
was appointed organist of St. Thomas's Church, where
he remained for one year, being then called to Grace
Church, where he remained for thirteen years. He
was next the organist at St. Ann's Church, and then
at Doctor Talmage's Brooklyn Tabernacle, where he
remained for fourteen years.

26o THE ORGAN AND ITS MASTERS

Mr. Morgan's organ-playing was considered re-
markable, especially his pedalling ; in fact, he was
considered the first concert organist to settle in
America. In Boston he created a sensation by his
playing at Tremont Temple in 1859, ^^^ some years
later, when the great organ in Music Hall was opened,
Mr. Morgan was one of the organists who played at
the inauguration ceremony. In 1876 he was engaged
by Roosevelt and by Messrs. Hook, the organ-builders,
to display their instruments at the Philadelphia Cen-
tennial Exhibition. He is said to have been the first
organist to play the works of Bach and Mendelssohn
in concert performances in the United States, but he
did not adhere to the strictly classical in his concerts,
for he frequently played operatic overtures, adapted
from pianoforte scores. His "masterpiece" was the
overture to "William Tell."

From 1886 to 1888 Mr. Morgan was organist of
the Dutch Reformed Church in New York, and this
was the last position which he held. Four years
after leaving it he died at Tacoma, Washington.

John Henry Will cox, who was the great rival of
Morgan, was a native of Savannah, Georgia, born in
1827. He was educated at Trinity College, Hartford,
Connecticut, graduating in 1849. In the following
year he became organist of St. Paul's Church, Boston,
succeeding Doctor Tuckerman, and later became or-
ganist of the church of the Immaculate Conception,

THE ORGAN AiVD ITS MASTERS 26 1

when a large instrument was erected there in 1863.
This position he held until 1874, and the following
year he died.

Doctor Willcox (his degree was conferred by
Georgetown College) was prominent as an organist
in New England for a number of years. He was
very clever at showing off a new organ, playing
pieces with soft and delicate effects, but he was not
technically equipped as an organist of the present
day should be, or as many of those who were his
contemporaries. He was, however, a pleasing and
popular player.

The first pubHc appearance of Doctor Willcox in
Boston was told by one who was present, in the
following words, and there is an additional reason for
quoting them, viz., that the affair took place at one
of the celebrated conventions of Lowell Mason. It
was at the closing session of the convention, and in
the afternoon. The time was being devoted to an
informal programme, to which the most distinguished
musicians present contributed their services.

"Mr. Silas A. Bancroft," says our historian, "then
organist at Doctor Kirk's, had just left the grand
piano, on the stage, leaving Doctor Mason standing
at the footlights alone. He (Doctor Mason) an-
nounced that Miss Bothamly would sing ' On Mighty
Pens,' and called for a volunteer accompanist. None
responded ; but just in the nick of time a door up the

262 THE ORGAN AND ITS MASTERS

Stage opened, and there appeared a handsome young
fellow of some twenty summers, blonde, lithe, grace-
ful, and self-possessed. Closing the door gently, he
came down the stage and took a chair in a depreca-
tory way, just as there arose from the audience cries
of'Willcox.'

*' Doctor Mason appeared puzzled, and looked
helplessly over the hall. The other actors in the
little play continued calling, until Doctor Mason
asked :

" ' Will Mr. Willcox come forward } '

" ' He's on the stage, sir,' was the reply.

" Doctor Mason turned ; Mr. Willcox arose, came
forward, and took the proffered hand, and, in reply to
the repeated request to accompany the singer, per-
mitted the usual conventional protestations of ina-
bility to be swept away and went to the instrument.
It was not a Herculean task, and it need not be said
that it was well done. It was a novelty in the way
of introductions, and gave the newcomer a substan-
tial position before the musical public.

" It was not until a later period that he was known
as an organist, nor did he display marked ability in
that role. But he was an aspiring student, and his
public performances, which were mostly at the exhi-
bitions of new organs, gave positive signs of continued
application. It was particularly noticeable after his
connection with the establishment of the Messrs,

THE ORGAN AND ITS MASTERS 263

Hook, where he got a practical knowledge of the
organ and its resources.

" For a long time his organ repertoire consisted of
five or six overtures, and these were produced upon
every occasion, until habitual listeners began to descant
upon the apparent improvement since the last per-
formance. I am quite positive these overtures were
of the list described ; if there were six I cannot recall
the other, nor am I entirely confident as to the ' Tell '
overture: ' Egmont,' 'Martha,' ' Zannetta,' ' Zanopa,'
' William Tell.'

" With the mechanical knowledge of the instrument
acquired at the factory, there came a change of this
programme, and improvisation and trick-playing, of
which the ' Thunder Storm ' was a type, took the
place of the earlier, stereotyped performance.

" Doctor Willcox's extempore performances always
impressed me with a feeling that he was over-con-
scious of the fact that he was on trial, and that a
poetic imagination was held severely in check, in order
that he might not be led to overstep the most exact
requirements of musical form. When he played
from score, few instances of which came to my notice,
I received a very different impression, as if the player
felt a relief in having his boundaries marked out for
him in advance, and self-restraint became no longer a
necessity."

Storm effects seem to have been the most popular,

264 THE ORGAN AND ITS MASTERS

or at least to have offered a fine opportunity for the
newspaper writer's powers of description. To show
that these exhibitions of "illegitimate" organ-playing
are not and have not been confined to America we
may be permitted to quote the following account of
an organ-recital given not very many years ago at
Freiburg. The first part of this description may be
omitted, as it refers to such commonplace matters
as choral selections and Bach fugues, and we will
commence at the part where "at last the organist
gathered himself up for his grand and final effort."

" By this time the shades of evening were gather-
ing in, and the cathedral was filled with a gradually
deepening gloom, to which the faint lights of three
lamps lent a picturesque effect. Overhead, in the
organ-loft, the tall metal pipes of the instrument
towered ghastly and grim, their apathetic stillness
contrasting strangely with the volume of sound they
poured forth, and a red light began to glow beneath
them, where the player sat amidst his curtains like
an enchanter in his cave. We are going to have
'The Storm.' Hark! a village choir singing vespers
in a church in the mountains. How beautifully that
stop comes in ! We hear the choristers ; one, two,
— then other voices joining, as the full anthem rises
and swells, and the service goes on. Presently the
regular beat of a bell. What is it .-* Is it a bell
calling to the service, or a bell announcing the ap-

THE ORGAN AND ITS MASTERS 265

proach of the storm ? If the latter — here comes the
storm muttering in the distance, gathering strength
and rolUng on ; and at last, after a sudden crash,
which makes you fancy you can almost see the zig-
zag lightning plunging its sharp lance points into the
earth, we hear a terrible peal of thunder bursting
through the aisles of the cathedral, and shaking the
very walls, and making the lady who sits not far
from us clutch her husband's arm in most unaffected
terror. It is an absolutely perfect imitation. The
organist must have studied storms. Even two of us
who have dabbled considerably in organ-playing,
glance hastily to the windows to look for the storm-
clouds. Half ashamed of the involuntary movement,
we turn back and gaze at the tall, weird organ-pipes,
at the glow beneath, and listen. The storm rages as
storms do, and sometimes we hear through its bursts
the village choir, with its wonderful voices, singing
their hymns. The storm rolls and dies away in the
distance, as storms do, and the anthem grows clearer
and more triumphant. But it too dies away at last
and leaves nothing but stillness in your ear."

Only rain was wanting to make this storm a per-
fect imitation, and this, in these modem days, could
easily be provided by means of perforated water-
pipes, without great expense, and probably with the
effect of reducing the insurance premiums on concert
halls fitted up in this way.

266 THE ORGAN AND ITS MASTERS

Stephen Austen Pearce is one of the many good
EngUsh organists who came to America and decided
to remain.

Born in London in 1836, he became a pupil of
J. L. Hopkins, and took his degree of Mus. Bac. at
Oxford in 1859, and that of Mus. Doc. in 1864.
Immediately afterward he made a trip to America,
visiting both the United States and Canada. On his
return he became organist at two churches in London,
where he remained until 1872, when he was ap-
pointed instructor of vocal music at Columbia Col-
lege in New York, and lecturer on various musical
subjects at the General Theological Seminary, Pea-
body Institute, and Johns Hopkins University of Bal-
timore. He was organist of the Collegiate Church,
Fifth Avenue and Forty-Eighth Street, New York,
from 1879 to 1885.

Doctor Pearce has written some music, chiefly
choral, and has been a contributor to several peri-
odicals and papers.

Eugene Whitney Thayer, born at Mendon, Mas-
sachusetts, in 1838, was a prominent organist for
several years. In 1862, he was one of the organists
who assisted at the opening of the Boston Music
Hall organ. In 1865, he went to Germany and
studied under Haupt, Wieprecht, and others for a
year. On his return to America he became organist
at Music Hall in Boston, where he gave many free

THE ORGAN AND ITS MASTERS 26)

organ recitals. He also played in many of the large
cities both on this continent and in Europe. He was
conductor of several choral societies. In 1881 he
became organist of the Fifth Avenue Presbyterian
Church in New York, and held that position until
1888. He died at Burlington, Vermont, early in
1889.

George W. Warren was born in Albany, New York,
in 1828, and was educated at Racine University.
As a musician he was self-taught, but his ability and
talent were such that he was appointed organist of
St. Peter's Church, Albany, a position which he
held from 1846 till 1858. In i860 he went to
Brooklyn, to Holy Trinity Church, where he re-
mained ten years as organist, leaving to go to St.
Thomas's, in New York. In 1887 he was honoured
by a degree from the University of Leipzig, and on
the completion of his twenty-fifth year at St.
Thomas's, a special commemorative service was held
in his honour, and he retired at the end of thirty
years' service as "organist emeritus." He worked
hard up to the day of retirement. He died suddenly
early in 1902. One of his sons is Richard Henry
Warren, musical director of St. Bartholomew's
Church.

John Knowles Paine, professor of music at Har-
vard University since 1876, is one of the foremost
American composers and teachers, and was one of

268 THE ORGAN AND ITS MASTERS

the first, if not the very first American concert
organist possessing the complete organ technique,
according to German standards.

Born in Portland, Maine, in 1839, he studied
music in his native city under Mr. Kotschmar, and
made his first appearance as an organist at Portland
in 1857. In the following year he went abroad to
study, and became a pupil of Haupt, Wieprecht, and
others. On his return to America in 1861, he soon
became noted as an excellent player, and on the
opening of the Boston Music Hall organ was one of
those who were invited to play at the inaugural cere-
monies. He was at that time organist of the West
Church, Boston, and teacher of music at Harvard,
the professorship being created in 1876.

During these later years J. K. Paine the organist
has been overshadowed by J. K. Paine the composer,
and in this broader and higher branch of the musical
art Professor Paine stands in the front rank, if not at
the head of his American brothers.

Amongst American musicians the name of Dudley
Buck is deservedly prominent, for he is not only
one of the foremost organists, but also was one of
the first American composers to obtain general
recognition.

Born at Hartford, Connecticut, in 1839, ^^ '^^^^
intended for a mercantile life, but so great was his
desire for a musical career that he succeeded in

THE ORGAN AND ITS MASTERS 269

acquiring sufficient knowledge and ability, without
instruction, to enable him to play the accompani-
ments to the masses of Haydn and Mozart. His
father now offered every possible assistance, and the
boy became a pupil of W. J. Babcock, at the age of
sixteen. He was occasionally employed as a substi-
tute for the regular organist at St. John's Church,
Hartford, and retained the position until he went to
Europe in 1858. Previous to his departure he had
been a student, for three years, at Trinity College,
Hartford.

Of the four years which he now spent in Europe,
eighteen months were at Leipzig, where he studied
theory and composition under Hauptmann and
Richter, orchestration and musical form under Rietz,
and the piano under Plaidy and Moscheles. Buck
then went to Dresden to study Bach under Schneider,
and at the same time he continued his studies with
Rietz, who had been appointed director of the Royal
Opera at Dresden. The next year was spent in
Paris, and in 1862 he returned to Hartford, where he
was appointed organist of the Park Church. In
1868, he went to Chicago, and was for three years
organist of the St. James's Church, where he ac-
quired an excellent reputation both as composer and
performer. Disaster overtook him in the great
fire, and his house, library, and several valuable
manuscripts were destroyed.

2/0 THE ORGAN AND ITS MASTERS

Dudley Buck was now called to Boston, where he
became organist of St. Paul's Church and of the
Music Hall, and subsequently of the Shawmut Con-
gregational Church. But New York held out greater
prospects, and in 1874 he became assistant conduc-
tor of the Theodore Thomas Orchestra, and musical
director at St. Ann's Church, a position which he
held until 1877, when he was appointed organist of
Holy Trinity, Brooklyn. This position he held until
1902, when he became organist of the Brooklyn Tab-
ernacle. At Holy Trinity he was succeeded by
Samuel A. Baldwin,

Dudley Buck's compositions embrace nearly every
variety of music, but for the organ he has contributed
some valuable works, viz., Grand Sonata in E-fiat ;
Sonata No. 2 in G-minor ; " Triumphal March ; "
" Impromptu and Pastoral Rondo-Caprice ; " " Idylle,
At Evening;" "Four Tone Pictures;" various
transcriptions and sets of variations ; " Eighteen
Pedal-phrasing Studies ; " " Illustrations in Choir-
accompanying," with hints on registration.

Mr. Buck's compositions have been received with
great favour by musicians of all grades. He is a
master of the art of colouring as well as of form, and
in all his compositions, vocal or instrumental, there
is displayed a technical knowledge of the resources
of the means employed, combined with an artistic
treatment, which has earned the warmest praise from

THE ORGAN AND ITS MASTERS 2/1

the most critical judges. The strictness of his early
training has not interfered with the play of his fancy
or the freedom of his invention.

Samuel Prowse Warren is a native of Montreal
(1841), the son of a Rhode Islander, who had moved
to Montreal to carry on his trade of organ-builder.
Brought up amidst the surroundings of the organ
factory, the boy naturally became familiar with the
instrument, and when quite young became organist
of the American church in his native city. In 1861,
having passed through college, he went to Europe to
complete his musical education. He studied for
three years in Berlin, under Haupt for organ, Wie-
precht for instrumentation, and Gustav Schumann for
pianoforte.

In 1864 he returned to Montreal, but shortly after-
ward went to New York, where he became organist
of All Souls' Church, where he remained for four
years. His next appointment was to Grace Church,
where he remained for many years, except from
1874-76, when he was at Trinity Church.

Mr. Warren's repertoire is extensive, and his tech-
nique admirable. For many years he has been one
of the most able concert organists in the country,
his recitals in New York City alone numbering sev-
eral hundred.

George Elbridge Whiting, a native of Holliston,
Massachusetts (1842), has been one of the foremost

2/2 THE ORGAN AND ITS MASTERS

American organists for many years. He came of a
musical family, and commenced his own studies at
the age of five, appearing as organist in a concert at
Worcester at the age of thirteen. Two years later
he became organist of the North Congregational
Church at Hartford, Connecticut, where he succeeded
Dudley Buck.

In 1862 he moved to Boston, and became organist,
first in Doctor Kirk's church, and afterward at
Tremont Temple. He gave concerts on the organ
then recently installed in Music Hall, and on many
other large organs in various places, and was much
in demand as a concert organist. He carried on his
studies during this period with G. W. Morgan, of New
York. In 1863 Mr. Whiting went to England, where
he studied under W. T. Best, for whom he frequently
acted as deputy in his various churches.

On his return to America, Whiting was appointed
organist of St. Joseph's Church at Albany, where he
remained for three years. An interesting fact con-
nected with his Albany engagement was that Emma
Lajeunesse, who, a few years later, achieved world-wide
renown as an opera and oratorio singer, under the name
of Madame Albani, was a member of his choir.

Mr. Whiting once more moved to Boston, and held
the position of organist and choir director at the his-
toric King's Chapel for a period of five years, and
organist of Music Hall for one year.

THE ORGAN AND ITS MASTERS 2/3

In 1874 Mr. Whiting went abroad and visited
Berlin, where he studied harmony with Haupt and
orchestration with Radecke, On his return to Bos-
ton he became principal organ teacher at the New
England Conservatory of Music, a position which he
held, with the exception of a short interval (during
which he was in Cincinnati), until 1898. In this posi-
tion he has had, as pupils, many young musicians who
have become noted in various parts of the United
States, and his influence as a teacher has thus been
felt throughout the country.

In 1879 Whiting received and accepted a call
from Theodore Thomas, who was director of the
Cincinnati Conservatory, to fill the position of profes-
sor of organ-playing in that institution. He ac-
cepted the call and remained in Cincinnati until
1882, during which time he opened the big Cincin-
nati organ, and gave many recitals.

On his return to Boston from Cincinnati, Mr.
Whiting accepted the appointment of organist and
choirmaster at the Church of the Immaculate Con-
ception, a position which he has held ever since.

The reputation of Mr. Whiting as a composer is
equal to that which he has earned as organist and
teacher. He has written two masses for voice, or-
chestra, and organ, and a number of organ pieces,
which are in constant use both in church and con-
cert.

274 THE ORGAN AND ITS MASTERS

Samuel B. Whitney, who, since 1871, has been or-
ganist and choirmaster of the Church of the Advent in
Boston, is known as one of the most prominent direc-
tors of church music in America. He was born in
Woodstock, Vermont, in 1 842, studied under various
teachers, and was appointed organist of Christ
Church, Montpelier, Vermont. In 1870 he came to
Boston and studied under J. K. Paine, assisting him
also as organist of Appleton Chapel, until he was ap-
pointed to the Church of the Advent.

Mr. Whitney has been organiser and conductor of
many festivals, and one of the most prominent and
highly respected organ-teachers in America.

Isaac Van Vleck Flagler, a native of Albany, New
York (1844), has been well known for many years as
a concert and church organist, and teacher. He stud-
ied music first under H. W. A. Beale, at Albany,
and when he went abroad, became a pupil of the
celebrated organist Batiste, and others. On his re-
turn to America he became organist of the First
Presbyterian Church at Albany. He was for eight
years organist of the Plymouth Church at Chicago,
and then went to Auburn, New York, where he has
been organist of the First Presbyterian Church for
many years.

Mr. Flagler has also been professor of organ in
several noted educational institutions. As a per-
former he is noted for brilliant and facile technique.

THE ORGAN AND ITS MASTERS 2/5

smooth pedalling, and good judgment in registra-
tion. He was one of the founders of the American
Guild of Organists, has been lecturer and organist at
the Chautauqua Assemblies for a number of years,
and has written and published a number of pieces for
the organ, chiefly of a popular kind.

Edward Morris Bowman, a native of Barnard, Ver-
mont, became a pupil of J. P. Morgan in New York.
In 1867 he went to St. Louis, where he occupied
various positions as organist until 1887, when he
received a call to the First Baptist Church of Brook-
lyn. During this period Mr. Bowman went abroad
for study several times. In 1872-73 he was in Berlin
and studied organ under Rohde and Haupt, and for
a short time in Paris with Batiste. In 1881 he went
abroad again and studied with Bridge, Turpin, and
Guilmant. He also passed the examination of the
Royal College of organists in London, being the first
American to do so.

Mr. Bowman was one of the founders and presi-
dent of the American College of Musicians. He was
professor of music at Vassar College from 1891 to
1895, and he was the organiser of the "Temple
Choir" in Brooklyn, besides which he is conductor
of various choral societies.

Louis Falk has been for many years one of the
prominent organists of Chicago. Born in Germany
in 1848, he came with his parents to America when

2/6 THE ORGAN AND ITS MASTERS

two years of age. They eventually settled in Roch-
ester, New York, where the boy began his musical
education, and secured his first organist's appoint-
ment. In 1861 he moved to Chicago and became
organist of the Chutch of the Holy Name, a position
which he held for four years. He now went abroad
and studied at Homberg and Leipzig, graduating from
the conservatory after a two years' course. On his
return to Chicago Mr. Falk became organist of
the Church of the Unity and a member of the fac-
ulty of the Chicago Musical College, He was one
of the first to make organ recitals popular in Chi-
cago.

Nathan H. Allen, born at Marion, Massachusetts
(1848), has long been prominent as organist of the
Centre Church, at Hartford, Connecticut, where his
good influence has been felt. He studied under
Haupt for three years, returning to America in 1870,
and setthng in Hartford, where he has been ever
since.

Hervi D. Wilkins, born in Italy, New York, in
1848, began his musical career at the age of seven
as a choir boy, and continued as a chorister until, at
the age of eighteen, he became organist of a church
at Auburn, New York. He went to Germany and
studied under Haupt and other noted teachers, and
on his return to his native land gave many organ
recitals in various parts of the country. He has

THE ORGAN AND ITS MASTERS 2//

been, for many years, organist in Rochester, New
York, where he also teaches piano and singing.

Horace Wadham Nichol was bom at Tipton, near
Birmingham, England, and held positions at Dudley
and at Stoke-on-Trent from 1867* to 1871, when he
was induced by an American gentleman to accom-
pany him to Pittsburg, Pennsylvania. Here he
became organist of St. Paul's Cathedral, and later
at the Third Presbyterian Church, during which
period he gave many recitals in that section of the
country. In 1878 he went to New York, where he
became organist of St. Mark's Church. He now
entered into journalistic work, and wrote many arti-
cles for the musical papers, besides which he estab-
lished himself as a teacher.

Mr. Nichol has written much music for the organ,
including a fantasia, preludes, and fugues and melodic
pieces.

He is spoken of as the most talented organist who
played on the St. Paul's organ at Pittsburg, and in
this connection the following account, consisting of
extracts from an article published in the Musical
Courier in 1901, will be interesting. The occasion
of the article was the removal of the old organ from
St. Paul's, preparatory to the erection of a still
finer instrument. This old organ was noted for its
carillons.

Almost all that is historical is associated with the

2/8 THE ORGAN AND ITS MASTERS

older cities, — Boston, New York, etc., — therefore it
is interesting to have some historical account of the
progress of the organ in the younger cities, of which
Pittsburg is one of the most progressive.

" Beautiful and sorrowful memories attend the
dismantling of the old organ in St. Paul's Cathedral,
on Grant Street. In its day it was by far the great-
est and finest organ west of the mountains. It enjoys
the distinction of being the first one of its kind ever
built this side of the Alleghanies, and certainly was
the first one that had a chime of bells.

** In the sixties and seventies the cathedral was the
Mecca for all lovers of fine organ music, and at times
the large auditorium could scarcely hold the thou-
sands that desired admittance. In those days Pitts-
burg presented few opportunities for hearing first-class
music of any kind. Engrossed in adding to their
stock of worldly goods, Pittsburgers thought little of
such unremunerative and ennobling things as music,
art, or literature. Repeated efforts to estabhsh musi-
cal organisations — orchestras, choral societies, etc.
— at this time either failed completely or met with
very indifferent success. When the St. Paul's organ
was placed in position, and a talented and accomplished
organist secured, Pittsburg lovers of what many con-
sider the grandest form of earthly music, hailed the
day with delight. Among the able organists and
choir leaders here were Horace Wadham Nichol,

THE ORGAN AND ITS MASTERS 279

considered the greatest that ever occupied the posi-
tion ; John Schenuit, Wax Herman, Henry Kleber,
McCaffrey, Knake, Miss AUce Carter, and the present
organist, Joseph Otten.

"The organ in the cathedral stands in the loft
about twenty feet above the ground floor, and to the
right of the altars. For several years the instrument
was the only one of real pretensions in the two cities,
but about 1872, Trinity P. E. Church, on Sixth Ave-
nue, installed a fine organ in its new edifice (the
present one), just then completed.

" Since then some splendid organs have been built
in churches here, chief among which are the East
Liberty Presbyterian and Christ Church, East End.
The organ at Carnegie Music Hall, Schenley Park,
of course, ranks among the finest. During former
years the old organ was used considerably at concerts
in the cathedral. It is related of Nichol and some
others that they could render a storm scene on it that
was so vivid that people involuntarily reached for their
umbrellas. On one occasion an old woman rushed
out of the church in great excitement, saying she
had left the front door open, and she was afraid her
best carpet would get wet.

" Trinity Church, Sixth Avenue, the * mother '
church of the Pittsburg diocese, has always been
famous for its fine organs. • The historic old house
of worship had probably the first pipe organ ever

280 THE ORGAN AND ITS MASTERS

built in this city. In the ' Old Round Church,' on
the three-cornered plot at Liberty, Wood Street and
Seventh Avenue, the first erected by Trinity's con-
gregation, an organ was installed in 1804. It was
a small, insignificant affair, as compared with the
leviathan, complicated organs of the present day, but
at that time, when there were only about five thou-
sand people in Pittsburg and organs were a great
rarity in the ' Western country,' it was deemed a
marvellous thing. People walked miles to see and
hear it, and when Reverend John Henry Hopkins,
the organist, drew from it melodious chords, the
plain people of the city listened. Like the ' Old
Round Church,' so called because it was built to
conform to the church lot, the old organ has long
ago disappeared, and as far as is known is now no
more. In 1826, Trinity built a new church on the
present site, which was granted to the church corpo-
ration by the Penns in 1787.

"In 1835, a new and larger organ was bought. It
was transported over the mountains on the famous
Portage road that operated by a series of inclined
planes, on which cars were hoisted by steam power.
The cars formed the top part of the canal-boats on
the canal from Hollidaysburg to Pittsburg, and were
run off the boats into the incline flat cars or trucks.
The freight charges in those days were enormous, as
compared with the small ones now. To bring such a

THE ORGAN AND ITS MASTERS 28 1

bulky thing as an organ from Philadelphia here was
an immense undertaking.

" Seventeen years later this instrument was replaced
by a still more elaborate one. When the present fine
edifice was built, in 1 870, another organ was installed.
When Mrs. Harry Darlington presented the church
with the present splendid instrument, in 1893, the
old one was taken out, and removed to Bellevue,
where it is now used by one of the churches
there.

"Among the accomplished masters of the organ
who served old Trinity, besides John Mellor, were
Thomas Bissell, C. C. Mellor, Charles Houghwart,
Simeon Bissell, Ethelbert Nevin, Doctor Beale, and
the present incumbent, Walter Hall.

" Christ Church, on Penn Avenue (the old building),
had a famous organ as early as 1855, about the time
the edifice was built. It was considered one of the
finest organs west of the metropolis. It was a re-
markable one, too, inasmuch as the console (keyboard)
was placed a long distance from the organ, a marvel
in organ-building. The organist sat thirty or forty
feet away from the organ when he played. In this
respect it was probably the only organ of its kind in
the United States. As its action was constructed
under the old-fashioned 'tracker' system, the long-
distance touch was very irregular. The cumbersome
affair was taken out of the church in 1882, and a

2 82 THE ORGAN AND ITS MASTERS

modern organ installed, the former being now in the
Emory M. E. Church, East End.

"Among the organists in Christ Church were C. C.
Mellor, Simeon Bissell, James Giles, Henry Rohback,
and Victor De Haus. The present superb church
edifice, on Center Avenue, has one of the finest and
most costly organs in Pittsburg.

" The First Presbyterian Church and the Third have
had fine organs for many years. The same may also
be said of the Calvary M. E. Church, Allegheny. Space
forbids, however, to even enumerate the fine pipe organs
in the two cities. Some of the earliest organs in the
city were marvellous and curious contrivances,"

Of American organists probably none is more
widely known than Clarence Eddy. Born at Green-
field, Massachusetts, in 185 1, his musical talent,
which was apparent in his early youth, was cultivated
by the best teachers of the neighbourhood until he
was sixteen years of age. He was then sent to
Hartford, Connecticut, to study under Dudley Buck,
and after a year he was appointed organist of the
Bethany Congregational Church at Montpelier, Ver-
mont. In 1 87 1, Mr. Eddy went to Germany, where
he studied under August Haupt,

Before returning to America Mr. Eddy made a
tour through the principal cities of Germany, Austria,
Switzerland, and Holland, giving recitals and building
up an enviable reputation.

THE ORGAN AND ITS MASTERS 283

Soon after his arrival in America he was appointed
organist of the First Congregational Church in Chi-
cago, and in 1875-76 gave his first series of twenty-
five recitals. In 1878, he became organist of the
First Presbyterian Church. Since that time Mr. Eddy
has been very active, travelhng all over the United
States and Europe, and giving recitals innumerable.

He has undoubtedly dedicated more organs in this
country than any other organist ; among them may
be mentioned the great Auditorium organ in Chicago
and the noted organ in Trinity Church, Denver. In
1889, he was invited to give recitals at the Trocadero,
in Paris, and he also played at the World's Fair in
Vienna.

Mr. Eddy has composed and published some
fugues, canons, preludes, etc., for the organ, and has
also published two collections of organ music, viz.,
"The Church and Concert Organist," and "The
Organ in Church."

Henry M. Dunham is one of the most prominent
of Boston organists, born in Brockton (1853), about
twenty miles from Boston, educated in Boston, and
associated with Boston during the whole of his hfe.
He is a member of a musical family, of which his
brother William is one of the best known tenor
singers of Boston, and his nephew George one of the
most promising of the rising generation of organists.

Mr. Dunham studied music at the New England

284 THE ORGAN AND ITS MASTERS

Conservatory of Music, making organ and composi-
tion his specialties, and graduated from that insti-
tution and afterward from Boston University. In
1878 he became a member of the faculty of the New
England Conservatory, teaching organ-playing, and
has remained in that position ever since. During
his career he has been organist at the Ruggles Street
Baptist Church, where he remained for some ten or
eleven years, and since that time at the Shawmut
Congregational Church.

In the days of the Boston Music Hall organ, when
recitals were given frequently, Mr. Dunham officiated
during several years and built up a fine reputation.
Since that time he has given many recitals at the
conservatory, at the Shawmut Church, and away
from Boston, his programmes alwa}'s being remark-
able for refined tone and dignity. His compositions
for the organ are numerous and of high quality, and
he has made many excellent arrangements of well-
known works.

Charles Henry Morse, a native of Bradford, Massa-
chusetts (1853), was educated at Bradford and Boston,
being graduated from the New England Conserva-
tory of Music in 1873. He continued his studies in
Boston University College of Music and received his
degree of Mus. Bac. in 1877, being employed in the
meantime as a teacher of pianoforte in the New
England Conservatory.

THE ORGAN AND ITS MASTERS 285

He was also professor of music at Wellesley
College from 1875 to 1884, when he went to the
West and founded the Northwestern Conservatory
of Music in Minneapolis, remaining there until
1891.

In Boston Mr. Morse was organist at Tremont
Temple and the Central Congregational Church ; in
St. Paul of the First Baptist, and in Minneapolis of
the First Congregational Church. Leaving the West,
he became organist and choirmaster of Plymouth
Church, Brooklyn, in 1891, remaining there for eight
years. In 190 1 he was appointed director of music
at Dartmouth College, Hanover, New Hampshire.

Hamilton Crawford MacDougall, born 1858, was
musically educated in Providence, Rhode Island,
under Robert Bonner, in Boston under S. B. Whit-
ney, J. C, D. Parker, and B. J. Lang, and took
lessons also under Wm. H. Sherwood of Chicago.

In 1883 he studied in London, becoming an Asso-
ciate of the Royal College of Organists, and again
in 1885-86 he was in London under Doctor E. H,
Turpin and William Shakespeare. From 1882 to
1895 he was organist of the Central Baptist Church of
Providence, Rhode Island, during which time he gave
many recitals in that church, and in other places.

In 1895 he became organist of the Harvard Church,
Brookline, Massachusetts, where also he gave a num-
ber of excellent recitals, resigning in 1900 to accept

286 THE ORGAN AND ITS MASTERS

the position of professor of music and director of the
department of music at Wellesley College.

William Crane Carl, a native of Bloomfield, New
Jersey, is perhaps the most popular and widely
known concert organist in the United States, with
the exception of Clarence Eddy. He was a pupil of
S. P. Warren, and of Madame Schiller, in New York,
but in 1890 went abroad and studied under Alexandre
Guilmant. Previous to his going to Paris he was, for
eight years, organist of the First Presbyterian Church
of Newark, New Jersey, and on his return to America
in 1892 he was appointed to the Old First Presbyterian
Church in New York City. At the same time he began
an exceptionally active career as concert organist, and
he has given recitals in all parts of the United States.
He has a very large repertoire, and has written and
arranged considerable music for the organ. Mr. Carl
was one of the founders of the American Guild of
Organists, of which body he is one of the council.

One of the most noted concert organists of New
York is Gerrit Smith, a native of Hagerstown, Mary-
land (1859), ^^^""o was educated at Hobart College,
Geneva, New York, where he held his first position as
organist. He afterward studied music at Stuttgart
Conservatory, and then was a pupil of S. P. Warren
of New York, and later with Eugene Thayer. He
also spent a year in Berlin under Haupt and Rohde.
Mr. Smith began his regular professional career as

THE ORGAN AND ITS MASTERS 28/

organist and choirmaster of St. Paul's Church, Buffalo.
On his return from Berlin he went to St. Peter's,
Albany, whence he was called to New York, in
1 88 5, as organist and choirmaster of the South Church.
He has given a great many organ recitals in the chief
cities of America, and his programmes are those of
a musician of high standards.

Everett E. Truette, who has been one of the most
active organists of Boston for some years, is a native
of Rockland, Massachusetts (i86i), was educated at
Phillips Academy, Andover, Massachusetts, graduated
from the New England Conservatory in i88i, in or-
gan, piano, counterpoint, and conducting, and two
years later took the degree of Bachelor of Music in
Boston University. Going abroad immediately after-
ward, he spent two years under Haupt, Guilmant,
and Best, and spent much time in studying the
greatest European organs.

On his return to America he was engaged as or-
ganist in three prominent churches, and in 1896 was
appointed organist and choirmaster at the Eliot
Congregational Church, Newton.

Mr. Truette has given upwards of four hundred
organ recitals, of which some sixty were on the or-
gan in Mechanics' Hall, Boston, and ten in Tremont
Temple. He was also called to San Francisco in
1896 to give two inaugural recitals on the memorial
organ in Grace Church.

288 THE ORGAN AND ITS MASTERS

In addition to his duties as organist and teacher,
Mr. Truette is conductor of the Newton Choral As-
sociation, editor of the organ department of the
Etude and president of the Alumni Association of
the New England Conservatory of Music.

Mr. Harrison M. Wild, one of the most successful
concert organists and teachers of Chicago, is a native
of Hoboken, New Jersey (1861), and after receiving
his education studied music under Arthur J. Cres-
wold. He then went to Leipzig and became a pupil
of Richter, Zwintscher, Maas, and Rust. On return-
ing to America, he took up his abode in Chicago,
where he continued his musical studies under the
best teachers available, at the same time officiating
as organist of the Ascension Church. Resigning
this position at the end of five years, he was for one
year organist of the Memorial Church, and then for
thirteen years at the Unity Church, during which
he gave more than two hundred recitals, and ac-
quired a good reputation as a concert organist. For
the past few years Mr. Wild has been organist of the
Grace Episcopal Church, in Chicago. He is also
conductor of the Mendelssohn Mannerchor, and
the Apollo Club, and an honorary vice president of
the American Guild of Organists.

J. Warren Andrews, organist of the Church of the
Divine Paternity, in New York, has given organ re-
citals in many cities, from the Atlantic to the Pacific

THE ORGAN AND ITS MASTERS 289

seaboard. Born in Lynn, Massachusetts, he began
his career as an organist at a Httle church in Swamp-
scott, at the age of twelve. In due course he held
various positions in Lynn and Boston, until he be-
came organist of the historical Trinity Church, in
Newport, Rhode Island. Here he remained nine
years, going to the Pilgrim Church, in Cambridge.
Thence he went to Minneapolis, where he was or-
ganist of the Plymouth Church, and found a large
field for his musical activities. During his sojourn
in Minneapolis, Mr. Andrews gave a large number
of recitals, travelling as far as Portland, Oregon.
After several years in the West, he accepted a call
to the Church of the Divine Paternity, in New York.

Mr. Andrews has given more than two hundred
organ recitals, and his programmes show a prepon-
derance of legitimate organ music.

Wilhelm Middelschulte, organist of the Chicago
Orchestra and Auditorium, and of St. James' Roman
Catholic Church, is a native of Germany, and received
his musical education at the Royal Academy of Church
Music, at Berlin, where he was a pupil of August
Haupt in organ and theory, August Loeschhorn, piano,
Doctor Julius Alsleben, history and conducting, and
Franz Commer, editor of the Musica Sacra. He be-
came assistant organist of Haupt at the Parochial
Kirche, and his associate teacher at the Royal Acad-
emy, and was, in 1888, appointed organist and director

290 THE ORGAN AND ITS MASTERS

of St. Lucas Church, in Berlin, which position he
held for three years, at the end of which he received
a call to Chicago to become musical director and or-
ganist of the Cathedral of the Holy Name. Before
leaving Berlin, Mr. Middelschulte was invited to play
the memorial service to the Emperor Friedrich III,,
at the church at Bornstedt, near Potsdam.

At the Columbian Exposition, Mr. Middelschulte
gave three organ recitals, and the following season
was invited to play with the Theodore Thomas Or-
chestra. With that organisation he has played the
following works : Guilmant's Concerto in D minor,
Saint-Saens's Symphonic in C minor, Rheinberger's
Concerto in F major, Handel's Concerto in G, Liszt-
Kann fantasie, and fugue, " Ad nos." To the last
three compositions he has written original cadenzas.

In 1900 Mr. Middelschulte was appointed organist
of the Cincinnati May Festival, on which occasion he
played the Bach Toccata in F major, and in 1902 at
the festival he played Bach's Prelude and Fugue in
B minor.

Of Mr. Middelschulte's compositions the most im-
portant is a passacaglia, published in Leipzig, which
has been received with much favour,

Frederick Maxson, a native of Beverly, New Jer-
sey, is one of the most prominent concert and church
organists of Philadelphia. He was a pupil of David
D, Wood in Philadelphia, passed the Associate Fel-

THE ORGAN AND ITS MASTERS 29 1

lowship degrees in the American College of Musi-
cians, and later studied in Paris with Guilmant, after
which he took the Associate degree in the Royal
College of Organists in London.

He was for some time organist and choir director
at the Christ M, E. Church, West Philadelphia, after
which he held a similar position at the Central Con-
gregational Church, Philadelphia for eighteen years,
resigning in 1902 to go to the First Baptist Church in
the same city. As a concert organist Mr. Maxson
has been engaged to give recitals in a great many
places, chiefly in Pennsylvania, Maryland, and New
Jersey. He has composed some pieces for the organ,
of which his Grand Chorus in D deserves special
mention.

J. Wallace Goodrich is a native of Newton, Massa-
chusetts, in which city he held for several years the
position of organist at the Eliot Congregational
Church, studying music at the same time with the
best teachers of Boston. In 1894 he resigned his
position at Newton and went to Munich, where he
studied under Rheinberger, going later to Paris,
where he became a pupil of Widor.

Returning to America in 1897, he was appointed
professor of organ and harmony at the New' England
Conservatory of Music, and shortly afterward organ-
ist and choirmaster at the Church of the Messiah
in Boston, a position which he resigned in 1902,

292 THE ORGAN AND ITS MASTERS

when, on the retirement of Doctor H. J. Stewart, he
received a call to Trinity Church.

Shortly after his return from abroad Mr. Goodrich
demonstrated his ability as a player of the best class
of organ music, and especially of Bach, by giving a
series of recitals at the Arlington St. Church in Bos-
ton. In October, 1901, he gave the first organ recital
in Symphony Hall, shortly after the opening of that
auditorium, and he may be said to have inaugurated
the organ on that occasion. He followed this recital
by two others, March 21 and 28, 1901. Mr. Good-
rich is the only organist who has played in the
Boston Symphony concerts, in the new Symphony
Hall. With that organisation he played the Handel
Concerto in D minor at the first concert given in
Symphony Hall, also the Symphony in C minor of
Saint-Saens on two occasions. At the Worcester
County Musical Association he played Rheinberger's
Concerto in F, with the orchestra, and in Boston,
with the New England Conservatory Orchestra, Han-
del's Concertos in B flat, No. 2 and No. 12.

Mr. Goodrich has always, both in his recitals and
written articles, been a strong champion of the cause
of legitimate organ music, especially of Bach and
C^sar Franck, in opposition to the so-called "ar-
rangement school." He has contributed valuable
articles to various musical journals, and has trans-
lated from the French " L'Orgue de Bach," by A,

THE ORGAN AND ITS MASTERS 293

Pirro. He organised, in 1901, and conducts the
Choral Art Society, and is choral conductor of the
Worcester County Musical Association.

Gaston M. Dethier, who is considered at the pres-
ent day one of the most brilliant organists resident
in New York City, is a native of Liege, Belgium,
(1875), and is the son of a musician.

At the age of eleven he won his first organ ap-
pointment in open competition, and became organist
of the church of St. Jacques, Liege. When Alexan-
dre Guilmant was consulted regarding an organist
for the Church of St. Xavier, New York City, he
recommended Dethier, who came in response to the
call extended to him, in 1894.

Since his arrival M. Dethier has given many re-
citals, some of them being in Montreal, Buffalo,
Philadelphia, Pittsburg, and other large cities, his
artistic playing always being recognised.

As a composer he has already contributed several
pieces to organ literature, one of them, a " passaca-
glia," having won the prize at the Music Teachers'
National Convention in 1897. In all there are
twelve organ compositions, and they have met with
much success.

John Hermann Loud, a native of Weymouth,
Massachusetts (1873), is one of the most accom-
plished of the younger generation of concert organ-
ists. After early instruction under the care of his

294 ^/^^ ORGAN AND ITS MASTERS

aunt, Miss Annie F. Loud, and Miss Cora Burns in
Boston, also with Henry M. Dunham at the New
England Conservatory, he went abroad in 1893
and studied organ and composition in Berlin with
Grunicke and Urban. The following year was spent
in Paris under Guilmant, and then he went to
Oxford and studied theory under Doctor J. Varley
Roberts. In 1895 Mr. Loud became an Associate of
the Royal College of Music in London, being the first
American to gain that distinction.

Returning to America, he shortly became organist
and choirmaster of the First Church at Springfield,
Massachusetts, and in 1900 was called to a similar
position at the Harvard Church, Brookline, Massa-
chusetts.

Here and at Springfield he has given a course of
more than seventy organ recitals, besides many re-
citals in other places. He is faithful to high ideals,
and never uses arrangements or piano scores, but
keeps to the original compositions of the most classic
authors.

At the Columbian Exposition held at Chicago in
1893, a noteworthy series of sixty-two organ recitals
was given, by the following players : Clarence Eddy
gave twenty-one; Alexandre Guilmant, four; R. Hunt-
ington Woodman, four ; Samuel A. Baldwin, Wm. C.
Carl, Walter E. Hall, Wm. Middelschulte, Frank
Taft, George E. Whiting, and Harrison M. Wild

THE ORGAN AND ITS MASTERS 295

each gave three ; Fred. J. Wolle, two ; G. Andrews,
Louis A, Coerne, N. J. Corey, C. A, Rowland, B. J,
Lang, Otto Pfefferkorn, W. RadcHffe, W. S. Ster-
Hng, Henry Gordon Thunder, and A. S. Vogt gave
one each.

These organists were selected from all parts of the
United States, and Alexandre Guilmant was brought
over from Paris. The programmes show a very great
diversity of taste, and a noteworthy feature of them
was that only three organists, Alexandre Guilmant, B.
J. Lang, and W. S. Sterling, gave any improvisations.

An excellent series of recitals was also given at
the Pan-American Exposition in Buffalo in 190 1,
but lack of space prevents a detailed account of
them.

A remarkable series of organ recitals was given in
Boston during the two seasons of 1897 and 1898,
under the management of the Art Section of the
Twentieth Century Club. The organists were all
local with one exception, and the recitals were given
in a number of churches in which the organs were
suitable for the purpose. The programmes through-
out were of a very high standard, consisting almost
without one exception of legitimate organ music.

Those who played were : Edgar A. Barrell, two
recitals ; P. B. Brown, one ; Geo. A. Burdett, five ;
Geo. W. Chadwick, two (assisted in the second by
E. G. Booth) ; E. Cutter, Jr., two ; Ernest Douglas,

296 THE ORGAN AND ITS MASTERS

one ; Henry M. Dunham, two ; Arthur Foote, one ;
J. Wallace Goodrich, four ; Philip Hale, one ; War-
ren A. Locke, two ; Hamilton C. MacDougall, three ;
Chas, H. Morse, one ; Homer A. Norris, one ; John
O'Shea, one; Horatio W. Parker, two; Chas. P.
Scott, two ; Chas. A. Safford, one ; Walter R. Spald-
ing, three ; Wm. Stanfield, one ; Allen W. Swan, two ;
Everett E. Truette, five; Benjamin L. Wlielpley,
three ; S. B. Whitney (assisted by H. E. Wry), two.

Returning once more to the European churches,
— one finds that the edifices in which organ-playing
has been developed are better suited to the instru-
ment than most American churches. They are
large, if not immense buildings, with high arched
roofs or vaulted domes. The style of architecture,
the dignity of the surroundings, the sacred character
of the buildings, all demand a classical purity and
elevated style of organ-playing, which, when trans-
ferred to the average American " meeting-house,"
or the concert hall, loses much of its effect.

The concert hall leads to transcriptions of operatic
overtures and other orchestral works, which, however
much they may please the average public, and how-
ever much they may be necessary to "popularise"
the organ, cannot but be deplored by those who
love and reverence the king of instruments and its
traditions.

It is doubtful whether the "popularisation" of the

THE ORGAN AND TTS MASTERS 297

organ, on which so many concert organists have
dwelt, has done anything at all toward inculcating
a love of organ music into the breast of what we are
accustomed to call the public. The average man
who likes music, but is not musically educated, will
doubtless prefer the overture to "William Tell" to
the "St. Anne Fugue" of Bach, but he would rather
hear it played by an orchestra or a military band
than on the organ. By playing such arrangements
on the organ the performer degrades his instrument
to the position of a makeshift, — an unsatisfactory
substitute.

The greatest art in organ-playing is the art of
improvisation, an,d this art, while it may be enjoyed
by many, can only be fully appreciated by the few.
It is to be regretted that there is little in the church
services of to-day to make the exercise of this art
necessary. That which should begin at the first
lesson in organ-playing, has been too long regarded
in this country as rather a superfluous accomplish-
ment, and while it has not been totally disregarded,
it has not received the attention due to its impor-
tance. The cultivation of the art of improvisation
should go hand in hand with technical development.
The result of this would not perhaps be evident in
more brilliant playing by concert organists, but
would be a much higher average of musicianship
amongst organists.

298 THE ORGAN AND ITS MASTERS

The concert organist, who is a great deal before
the public, does not necessarily represent the highest
that is in the art of organ-playing. On the contrary,
because of the necessity of pleasing his public he is
strongly tempted to descend from the strict and high
level of organ music, and to try to tickle the ears of
his audience with "storm fantasias," and similar
meretricious concoctions.

Organ " arrangements " have been in use from the
time of Bach, or even earlier. The " transcription "
of orchestral music for the organ was brought into
popularity by W. T. Best, who was most artistic both
in his arrangements, and his performance of them.
But there was an excuse for them, inasmuch as
orchestras were extremely rare in those days, and by
means of the organ the public could be made familiar
with a great deal of orchestral music. These tran-
scriptions served to show the technical ability of the
organist, at the expense of the dignity of the organ.
To-day there is less excuse, if indeed there is any, for
the transcription, because orchestras are more nu-
merous and the opportunities for hearing orchestral
music are greater and better than they were twenty-
five or fifty years ago, besides which the range of
organ music is much wider.

Many of the best church organists in the large
cities are giving excellent recitals. Of their standard
one can only judge by examining the programmes.

THE ORGAN AND ITS MASTERS 299

Large audiences are quite frequent at these recitals,
as no admission fee is charged, and it is only the
"concert organist" who is obliged to descend to the
sensational for the sake of the admission fee.

It is to be hoped that in a few years, in view of
the tremendous activity in organ-building and in edu-
cation of organists, the "storm fantasia" and the
orchestral transcription will be rolled back to the
woods and the plains, and serve to soothe the savage
Indian, and to please the bronco buster and cow-
puncher, who will thus be gradually prepared, as their
more Eastern forefathers have been, for the higher
forms of organ music.

CHAPTER XI.

ORGAN - BUILDING

The following brief summary of organ-building in
England is taken from an article written by Doctor
C. MacLean and published in the ZeitscJirift der
inteniationalen Miisik-Gesellschaft, September, 1901.
It will serve to show the general progress of organ-
building throughout the world, and indicate the origin
of certain principles, some of which have taken years
to bring to perfection.

THE HISTORY OF ENGLISH ORGAN - BUILDING, — A
bird's-eye VIEW.

" Before the beginning of the seventeenth century
scarcely anything is known. About that time all
large organs were in two manuals, great and choir, and
no pedal. Th. Dallam (1602-65) built one at
York in 1633. Harris, grandfather of Rene, built
one at Magdalen, Oxford, in 1637. Then came the
great rebellion. Rob. Dallam built a two-manual
organ at New College, Oxford, in 166 1, after the
Restoration. Ralph Dallam (d. 1673) built a one-

300

THE ORGAN AND ITS MASTERS 30I

manual organ at Windsor, with two ''shifting" or
reducing pedals (down to principal, and down to
diapasons, with return-spring on release of catch),
about the same year. J. Loosemore (161 3-81) built
a two-manual organ at Exeter in 1666, having double
diapason, fourteen notes on manual from tenor C down,
with short octaves, having GGG pipe of twenty feet
six inches speaking length, and one foot three inches
diameter.

"Bernard Schmidt (1630-1708) came from Wettin,
near Halle, to England in 1660, introduced mixtures
and reeds, and added a short echo manual ; but still
no pedal-board, though in Germany three hundred
years before. His firm made very many organs
throughout the country, including Westminster
Abbey (1662), Temple (1682), St. Paul's (1697),
etc.

"Rene Harris (d. 1715), Englishman naturahsed in
Paris, grandson of Harris above-named, came to Eng-
land likewise in 1660, and began in western counties
with his father ; they built Worcester, Salisbury, and
Gloucester organs, with many others, and also some
in London. They relied on reeds in French style ;
stops were made common to two manuals ; Salisbury
had a second great, making four manuals, the first
instance here.

"Abraham Jordan invented the first swell, a
*nag's-head' or 'window-sash,' in 171 2; copied

302 THE ORGAN AND ITS MASTERS

at Hamburg in 1764. In 1726 Harris and Byfield
built an organ at St. Mary, Redcliffe, Bristol, with
a CCC great manual (many since in England), and a
sub-octave coupler great to great. R. Bridge's organ
at Christ Church, Spitalfields, in 1730, had thirty-
three speaking stops on three manuals, and yet no
pedal-board.

"Johann Snetzler, of Passau (b. 1710), introduced
the first dulciana, and the first real manual double
in this country, at Lynn Regis (1754); at Savoy
German Lutheran Chapel he introduced an octave of
pedal-board, first time in England, but without pipes,
acting only by permanent coupler.

"One Cummings, a watchmaker, invented in 1762
a flat accordion-reservoir laid on top of the ordinary
diagonally rising bellows. B. Plight (i 767-1 847)
mutually inverted the pair of ribs in Cummings's
reservoir, and others replaced single bellows by a
cuckoo-bellows or by a pair of bellows. John Avery
(d. 1808) put separate pipes on Westminster Abbey
pedal -board some time before 1793 ; and superseded
Jordan's window-sash swell by a Venetian swell, now
(except for the occasional ' gridiron ' and ' box ') the
only one used.

"J. C. Bishop (i 781-1854) in 1809 invented
* composition ' pedals, where there was no catch or
return-spring; in 1825 he introduced concussion or
floating bellows on the wind-trunks near pipe ; in

THE ORGAN AND ITS MASTERS 303

1829 he built the organ at St. James's, Bermondsey,
three manuals, three stops on pedal, five couplers,
and a left hand side-manual acting on pedal organ.

"C. S. Barker, a chemist's assistant of Bath
(1806-79), invented while a young man (1832) the
pneumatic lever near the key, or small diagonally
rising leverage-bellows, worked on the principle of
the slide-valves of a steam-engine, which was refused
by Hill, and accepted by A. Cavaille-Coll (181 1-99)
for St. Denis near Paris in 1841 ; this has revolu-
tionised the whole art of organ- building, because no
limit thereafter to size of organ or pressure of wind.
There have been several modifications since of the
'lever' (averaging in size three inches by nine
inches), and it has been applied to do other work
besides pallet work, while still retaining the original
principle of mechanical construction each side of the
pneumatic lever or motor. Barker studied organ-
building under Bishop, went to Paris, 1837, patented
the lever for France in 1839, ^"^ was successively
voicer with Cavaill6, manager of Ducroquet (later
Merklin), and partner with Verschneider ; at the war
in 1870 he retired to Dublin, and died old and poor
at Maidstone.

"In 1827 Jos. Booth had at Sheffield applied
the same principle at the other end under the pallet,
but only to some bass pipes and with crude details ;
the leverage-bellows (' puff-valves ') here were acted

304 THE ORGAN AND ITS MASTERS

on from key by heavy wind contained in conveyances.
This since worked up in conjunction with Barker's
lever ; the principle being now to place the main
motor close to the seat of work to be done (pallet,
slide, etc), to have a minor motor close to the operat-
ing agency (key, piston, etc.), and to connect these
two not mechanically but by heavy wind (say ten
inches) pressing or exhausting in a pliable leaden
tube, one-eighth inch to quarter inch interior diam-
eter. Moitessier, of Montpelier, patented such a
tubular-pneumatic in 1835, ^^^^ practically applied it
at La Dalbade in Toulouse in 1850. Willis here
took it up later, and applied it at St. Paul's in
1874.

**The dates here involved regarding Booth (1827),
Barker (1832), and Moitessier (1835), and the details
and circumstances of each invention, deserve careful
scrutiny. The original Barker principle, to apply
compressed air only at a fixed point of force, and not
diffused over a long connection, remains the soundest
as far as pneumatics are concerned ; there is a vena
contracta for gases, and the action is not immediate.

" H. J. Gauntlett, London, organist (1806-76),
patented in 1852 an electro-magnetic connection
between key and pallet ; key making an electrical
contact (by copper point entering mercury cup, later
copper pin thrust between copper bristles), close to
its tail-end, wire carrying a current, electro-magnet

THE ORGAN AND ITS MASTERS 305

just below pallet, armature on underside of pallet
itself. Barker in 1867 applied the principle at St.
Augustin, Paris, interposing one of his pneumatic
levers near pallet. Both Bryceson and Willis devel-
oped electric action systematically, and severally
took out patents in 1868. Since then, many devices
for diminishing work of magnet, and increasing that
of wind ; chiefly by small secondary pneumatic
motors subordinate to the primary. In ' Hope-Jones '
action of to-day, the magnet need only move a
small disc by less than one-hundredth of an inch.
Electro-pneumatics are better than tubular pneu-
matics, always provided the electricity can be relied
on.

" The same H. J. Gauntlett laboured with the organ-
builder, W. Hill, in mid nineteenth century, to intro-
duce the CC compass for manual and CCC compass
for pedal-board (in lieu of GG and GGG) ; herein
doing some good, no doubt, and also some mischief.
In spite of the passionate advocacy of those days,
the theoretical arguments against a G inferior com-
pass (the specialty of these islands, and nearly uni-
versal here 1650-1850), are very feeble. It might
be said that in well-disposed harmony the G manual
ran lower than necessary for the hands. But it could
not possibly be said that the G pedal-board, with its
extreme note of twenty-one feet, was not a judicious
compromise as to depth ; giving a fine foundation for

306 THE ORGAN AND ITS MASTERS

the whole organ-sound, touching almost the limit of
available prime-tone (except to a fanatical imagination),
exactly tallying with the invariable vocal quartet
in accompaniments. In point of fact, G organs on a
choir-screen were ideally designed for effect in our
cathedrals, and to accompany their service ; and for
that they have never been equalled. It is noteworthy
that S. S. Wesley (the most gifted of modern Eng-
lish church composers) was Gauntlett's chief oppo-
nent, and that W. T. Best (the most expert of modern
English concert organists) would never allow the G
manuals of the great concert organ in St. George's
Hall, Liverpool, to be altered during his lifetime.
The real argument for the change was the practical
one that all the best music in the world for organ
solo (the German and the Dutch) had been written
for a CCC pedal-board. Feet are blind, and there
must be one pedal-range for one country. Hence it
had to be either one thing or the other, and the
German system, having the greater weight, carried
the day ; then manuals were contracted to CC for
economy and conformity with the pedal. So far the
practical arguments, as concerns the great majority
of new constructions, can scarcely be gainsaid. But
it is doubtful whether all existing GG manuals need
have been altered ; and most certainly there was a
strong prima facie case for leaving undisturbed those
monuments of English building, the CCC manuals

THE ORGAN AND ITS MASTERS 307

(such as in Italy) of Bangor, Bath, Birmingham,
Bristol", Cambridge (Trinity College), Gloucester,
Leeds (St. Peter's Chapel), Newgate Street (Christ
Church), Westminster Abbey, etc. Indeed, even as
to new constructions, where cost is no object, there
can be no objection of any sort to CCC manuals
throughout an organ (as at Como), and such have
great advantages in providing varied basses, etc. ;
while again this is specially true when there is only
one manual. Finally, a compromise not to be de-
spised is to cut thirty-two feet pedal stops at the G
pedal, omitting the lowest seven notes, and to have
these stops more frequently.

" Wilhs, in his 185 1 Hyde Park Exhibition organ,
was the first to use heavy wind combination pistons
in lieu of foot pressed composition-pedals. Repre-
sentative of the many English latter-day devices for
controlling stops, especially pedal stops, are those of
Casson (a Denbigh banker now engaged in organ
manufacture). . . . There have also been numerous
soundboard and action devices under the heads of
borrowed pipes, highest note and lowest note en-
forcements, double touch, etc. The bellying purse
device (cf. Kegellade) occasionally used here. R.
Hope-Jones, electric engineer, has invented large
new class of pipes, diaphones ; really tremulant
applied to a pipe-body, with tone between flute and
reed.

308 THE ORGAN AND ITS MASTERS

" Now the whole of the above survey shows the
following list of admitted important improvements,
of which the initiative is due to Englishmen : Hori-
zontal reservoir, Cummings, 1762 ; inverted ribs to
ditto, Flight, c. 1800; composition-pedals, Bishop,
1809; concussion bellows, Bishop, 1825; tubu-
lar pneumatic connection, Booth, 1827; pneumatic
lever. Barker, 1832 ; electric connection, Gaunt-
lett, 1850; combination pistons, Willis, 185 1. The
inventions of Cummings and Flight for the first
time put wind-supply on a proper footing ; that of
Barker, as before said, revolutionised organ-building.
The French and Italians followed quickly and practi-
cally regarding pneumatic and electric connections.
It remains to be seen whether these are not heresies,
and whether there is as yet anything better than
compact pneumatic levers at points of necessary force,
with carpenter's or other rigid push-and-pull between."

The electro-pneumatic principle is said to have
originated in Germany, but there is an account of an
organ in Drury Lane Theatre to which this principle
was applied in 1867, and this is said to have been
the first organ to contain the electric draw-stop
action and cable of insulated wires through which
the instrument was played. The keyboard was
placed fifty-five feet from the organ.

The development of this action into a practical
commercial possibility is due to innumerable small

THE ORGAN AND ITS MASTERS 309

inventions affecting almost every detail of the
action.

In America the first electric-action organ is said
to have been one built by Roosevelt for the Centen-
nial Exhibition in Philadelphia in 1876. This organ
was afterward removed to the Mechanics' Building in
Boston, but little 01 nothing was done with the electric
action in this country from that time until about 1890,
when Hope-Jones, the English organ-builder, erected
an instrument at Taunton, Massachusetts, after which
American builders took up the idea in earnest.

In America the organ-builders, who have learned
their art, and built up their trade in little more than
a century, are cosmopolitan, availing themselves of
the best workmen and the best ideas from all parts
of Europe, and adding to the foundation thus secured
such ingenuity and invention as the American
mechanic is noted for. During the past fifty years
America has been importing men rather than instru-
ments, and at the present day American organs will
stand comparison with those now being built in
Europe, and are at the same time better adapted
to the climate of the country and to local conditions.

Much of the improvement in organ-building in
this country is undoubtedly due to Roosevelt, the
New York builder, who spent thousands of dollars
on experiments in electricity, and in the principle of
the individual valve, and at last went out of busi-

3IO

THE ORGAN AND ITS MASTERS

ness. His ideas have since been worked upon by
other builders, and are being brought to perfection.

The " universal air-chest," by which the whole
inside of the organ practically becomes a reservoir
of wind, is a recent American invention, made by
John Turnell Austin in 1 894. In this system, which
represents the most radical change in organ-building,
the whole mechanism of the organ, except the key-
action, is included in the wind-chest.

As an example of modern American organ-building
perhaps none can be found better than the great
instrument erected in the Woolsey Hall auditorium at
Yale University in 1902 by the Hutchings-Votey Co.

SPECIFICATIONS.

Compass of Manuals from C to C, 61 notes

.

Compass of Pedals from C to G, 32 notes.

Great Organ.

I.

16 ft. Diapason .

metal 61

pipes

2.

16 ft. Quintaton .

wood 61

(1

3-

8 ft. Diapason .

metal 61

((

4.

8 ft. Diapason .

" 61

((

5-

8 ft. Diapason .

" 61

«

6.

8 ft. Doppel Flote

wood 61

(1

7-

8 ft. Principal Flute

" 61

((

8.

8 ft. Gross Gamba

metal 61

(1

9-

8 ft. Viol d'Amour

" 61

(t

10.

8 ft. Gemshorn .

" 61

<(

II.

4 ft. Octave

metal 61

«

12.

4 ft. Wald Flute

wood 61

(1

13

4 ft. Gambette .

metal 61

((

THE ORGAN AND ITS MASTERS

311

14.

2 ft. Twelfth .

61 pipes

IS-

2 ft. Fifteenth .

61 "

16.

V. Rks. Mixture .

305 "

17-

16 ft. Trumpet

61 »

18.

8 ft. Trumpet

61 "

19-

4 ft. Clarion

61 "

Swell Organ.

20,

16 ft. Contra Gamba .

metal 61 pipes

21.

16 ft. Bourdon

wood 61 "

22.

8 ft. Stentorphone

metal 61 "

23-

8 ft. Diapason .

((

61 "

24.

8 ft. Gamba

<i

61 "

25-

8 ft. Bourdon .

wood 61 "

26.

8 ft. Flauto Traverse

(1

61 "

27.

8 ft. Salicional .

metal 61 "

28.

8 ft. Quintadena

a

61 «'

29.

8 ft. Unda Maris

a

61 "

30-

8 ft. ^oline

(1

61 "

31-

8 ft. Vox Celestis

<t

61 "

32.

4 ft. Harmonic Flute

((

61 "

33-

4 ft. Principal .

((

61 «

34-

4 ft. Violina

((

61 «

35-

2 ft. Flautino

u

61 "

36.

V. Rks. Dulce Cornet

((

305 »

37.

16 ft. Posaune

((

61 "

38.

8 ft. Cornopean .

((

61 «'

39-

8 ft. Oboe .

((

61 "

40.

8 ft. Vox Humana
Tremolo.

Choir Orgai

ST.

6i '•

(Enclosed in a swe'

1-box.)

41.

16 ft. Contra Dulciana

metal 61 pipes

42.

8 ft. Diapason .

((

61 "

312

THE ORGAN AND ITS MASTERS

43

8 ft. Melodia

wood 61

pipes

44

8 ft. Viol d'Orchestre

metal 61

45

8 ft. Lieblich Gedacht

wood 61

46

8 ft. Dulciana .

metal 61

47

8 ft. Viol Celeste (2 Ranks)

" 122

48

8 ft. Violoncello

wood 61

49

4 ft. Viola ....

metal 61

50

4 ft. Flauto Traverse .

wood 61

51

2 ft. Piccolo Harmonique .

metal 61

52

8 ft. Clarinet

" 61

S3

16 ft. Contra Fagotto .
Tremolo.

" 61

Solo Organ.
(In a swell-box.)

54-

8 ft. Tibia Plena

metal 61

pipes

55-

8 ft. Tuba Sonora

" 61

56.

8 ft. Gross Flute

" 61

57-

4 ft. Hohlpfeife . wood and

metal 61

58.

8 ft. Dolce

" 61

59-

8 ft. Orchestral Oboe

" 61

Pedal Organ (Augmented).

60.

64 ft. Gravissima (Resultant)

wood 32

notes

61.

32 ft. Diapason .

" 32

62.

32 ft. Contra Bourdon .

" 32

63-

32 ft. Contra Bass (Resultant)

" 32

64.

16 ft. Diapason .

" 32

65.

16 ft. Diapason .

metal 32

66.

16 ft. Violone

wood 32

67.

16 ft. Bourdon

" 32

68.

16 ft. Dulciana

metal 32

69.

16 ft. Lieblich Gedacht

wood 32

70.

16 ft. Bombarde .

metal 32

71-

16 ft. Contra Fagotto .

" 32

THE ORGAN AND ITS MASTERS

313

72

73

74

75
76

77
78

79-

80.

81.
82.

83-
84.
85.
86.
87.

88.
89.
90.
91.
92.

93-
94.

95-
96.

97-
98.

8 ft. Bass flute .
8 ft. Octave
8 ft. Violoncello
8 ft. Bourdon
8 ft. Tromba
4 ft. Super Octave
4 ft. Flute .

wood 32 notes
metal 32 '«
wood and metal 32 pipes
wood 32 "
metal 32 "

" 32 "
wood 32 *'

Couplers.

Great to Pedal,
Swell to Pedal,
Choir to Pedal,
Solo to Pedal,

Swell to Great,
Choir to Great,
Solo to Great,
Swell to Choir,
Swell to Solo,

Great to Great, 16
Swell to Swell, 16
Solo to Solo, 16
Swell to Great, 16
Choir to Great, 16
Solo to Great, 16
Great to Great, 4
Swell to Swell, 4
Solo to Solo, 4
Swell to Great, 4
Solo to Great, 4

Pedal.

Unison.

Sub 8vo.

Super 8vo.

Adjustable Combinations.

(Push buttons between manuals.)

i> 2, 3, 4, 5, o. Operating on Great and Pedal.
I, 2, 3, 4, 5, 6, o, « " Swell

314

THE ORGAN AND ITS MASTERS

I. 2, 3, 4, o,
I. 2, 3, 4, o,
I, 2, 3, 4,

General Release.
Pedal Release.

Operating on Choir and Pedal.
" " Solo "

" " such stops as may be

desired.

Pedal.

I, 2, 3

4, 5> 6

7,8

9, lo

II

12

14

15
1 6

17

Combinations on Great.
Combinations on Swell.
Combinations on Choir.
Combinations on Solo.
Great to Pedal Reversible.
Swell to Pedal Reversible.
Sforzando (Full Organ).
Balanced Swell.
Balanced Choir.
Balanced Solo.
Balanced Crescendo.
Electro-pneumatic Action.

When M. Guilmant, the noted French organist,
had completed his tour of the United States and
Canada in 1898, his opinions were expressed in an
article published in the Music Magazine, and from
that article we may quote as follows :

" In America I have found many good organs.
They are especially effective in the softer stops,
such as the dulciana, flutes, and gamba. But the
full organ lacks resonance and does not thrill. I
do not think the mixtures and reeds of the great
organ should be included in the swell-box, as this
weakens the tone and destroys proper balance. The

THE ORGAN AND ITS MASTERS 315

pedals in American organs are not so clear and dis-
tinct as they should be. They lack the eight-foot
and four-foot tone. The effect is the same as if
there were too many double basses in an orchestra
and not enough violoncellos. The sixteen-foot open
diapason in the great organ is so powerful that every
organ should have also the milder sixteen-foot bour-
don, which gives mellow quality to the foundation-
stops. But as a rule the softer sixteen-foot stops
are wholly lacking in American organs.

" Organ-builders should devote less time to me-
chanical improvements, and more time to improving
the voicing of their instruments. Mechanical appli-
ances are multiplying so fast that soon an organist
will be unable to occupy himself with anything ex-
cept the mechanism of his instrument. This is much
to be deplored. Organ-playing should be essentially
musical, and, as far as possible, in the pure style of
the organ. It should not involve constant changes
of registration. There is too great a tendency to use
vibrating stops — voix celeste, tremolo, and vox hu-
mana."

The opinion of M. Guilmant is valuable, being that
of one who is not only at the very head of his profes-
sion, but who has also visited many countries and
become acquainted with the conditions existing in
those countries.

There is great advance in organ-building in Amer-

3l6 THE ORGAN AND ITS MASTERS

ica at the present day, and much of this is doubtless
due to the fact that our organ-builders have practi-
cally a clear field. The European countries are
much hampered by historical associations. Many of
the churches are extremely ancient, and very beauti-
ful. Their organs, too, are almost mediaeval, and
though repaired from time to time, do not possess
the mechanical advantages of modern instruments.

Here in America the whole country is growing.
New churches, new halls, and new organs are being
built constantly, and many magnificent instruments
are being erected annually, giving to organ-builders
every opportunity to make use of the most modern
devices and improvements. These, of course, do not
affect the tone and quality of the instrument, but
they give to the organist facilities which enable him
to accomplish feats of performance, and effects which
are impossible upon the old instruments. Lightness
of touch, quick response, and rapid combinations are
the means at the disposal of the modern organist,
and these improvements are due chiefly to the appli-
cation of electricity, a principle which has taken
many years for its development, and which cannot
yet be said to have reached perfection.

There appears to be no limit to invention, and
what the organ will become in the future no one can
foresee.

It would be interesting, indeed, if the good people

THE ORGAN AND ITS MASTERS 31/

of the Brattle Square Church, who rejected the little
innocent "box of whistles" which was left to them,
could come back to us and sit in judgment upon one
of the modern electric-action organs. Doubtless all
the light which we have received during the past
two centuries would be ascribed to the *' powers of
darkness."

THE END.

CHRONOLOGICAL TABLE OF
FAMOUS ORGANISTS

" C " indicates that the date given is only approximate.

Place and Date of 1

Place and Date of

Name.

Birth.

Death.

Sandino, Francesco .

Florence

<ri325

Florence

1390

Pesaro, Francesco de

Venice

1333

Venice

?

Circo, Francesco de

Florence

1390

Florence

?

Paumann, Conrade .

Germany

1410

Munich

1473

Sguarcia, Lupo Antonio .

Rome

1430

?

?

Isaak, Heinrich

?

£•1450

?

^1517

Hofheimer, Paulus von .

Radstad

1459

Salzburg

1537

Willaert, Adrian

Brugge

1480

Venice

1562

Redford, John .

London

1500

?

Sheppard, John

Oxford

1500

1560

Taverner, John

Boston, Eng

1500

1570

Corteccio, Francesco

Florence

1500

1570

Van den Bosch, Jean

Antwerp

1500

?

1550

Buus, Jacket .

Bruges

1510

?

?

Gabrieli, Andrea

Venice

<ri5io

Venice

1586

Salinas, Francesco .

Burgos

1512

Salamanca

1590

Blitheman, Win.

England

t:i^20

England

1591

Tallys, Thos. .

England

£-1520

London

1585

Tye, Christopher

Cam'ge, Eng

. 4:1520

London

1 591

Edwards, Richard .

Somersetshire 1523

?

1566

Merbecke, John

?

1523

?

1585

Farrant, Richard

London

^1526

Windsor

1580

Merulo, Claudius

Correggio

1533

Parma

1604

Parsons, Robert

Exeter

^^1535

Newark

1569

Amerbach, Elias N.

Milan

^1540

Leipzig

1597

Bariola, Ottavio

Milan

1540

?

?

Milleville, Alessandro

Ferrara

1540

?

?

Byrd, William .

London

1546

London

1623

Antegnati, Costanzo

Brescia

^1550

Brescia

(ri620

Eremita, Giulio

Ferrara

<^i55o

?

?

Giles, Nathaniel

Worcester,

Eng.

^1550

Windsor

1623

319

320

CHRONOLOGICAL TABLE

Name.

Place and Date of
Birth.

Place and Date of
Death.

Luzzasco, Luzzaschi

Ferrara

<ri550

?

?

Paix, Jacob

Augsburg

1550

Lauingen

1590

Gabrieli, Giovanni .

Venice

1557

Venice

1612

Ballioni, Jeronimo

.?

?

?

?

Diruta, Girolamo

Perugia

^1560

?

?

Erbach, Christian .

Algesheim

CI 560

Augsburg

1682

Holmes, Thomas

?

1560

Salisbury

?i663

Philipps, Peters

?

1560

.?

1625

Praetorius, Hieronymus .

Hamburg

1560

Hamburg

1629

SweeHnck, Jan

Amsterdam

I !;62

Amsterdam

1621

Bull, John

Somersetshire 1563

Antwerp

1628

Morley, Thomas

?

1563

Eondon

1604

Hasler, Hans Leo von

Nuremberg

1564

Frankfort-on-
Main

1612

Aichinger, Gregor .

Augsburg

1565

?

1612

Hasler, Jacob .

Nuremberg

1565

Ilechingen ?

1601

Milleville, P'rancesco

Ferrara

CI 565

?

?

Banchieri, Don Andriano

Bologna

1567

'?

1634

Tomkins, John

England

1569

London

1638

Arnone, Guglielmo .

Italy

<ri570

Italy

?

Bevin, Ehvay .

England

1570

Bristol

CI 640

Cima, Giovanni

Milan

CI 570

?

?

Hasler, Casper

Nuremberg

1570

Nuremberg

1618

Tomkins, Thomas .

England

1574

Worcester

1656

Bateson, Thomas •

England

^1575

Bristol 1 599

-1611

Ala, Giovanni B.

Italy

<riS76

Italy

1612

Weelkes, Thomas .

England

1578

Chichester

1640

Staden, Johann

Nuremberg

CI579

Nuremberg

1634

Gibbons, Ellis

Cambridge

1580

?

1650

Patavino, Annibale .

Padua

C1580

\

1660

Frescobaldi, Girolamo

Ferrara

1583

Rome

1644

Gibbons, Orlando .

Cambridge

1583

Canterbury

1625

Batten, Adrian

England

CI 585

London

C1637

Schiitz, Heinrich

Saxony

1585

Dresden

1672

Schein, Johann H. .

Saxony

1586

Leipzig

1630

Scheldt, Samuel

Halle-on-

Saale

1587

Halle-on-Salle

1654

Amner, John .

? (late in i6th

century)

?

1641

Agostini, Paolo

Valleraro

1593

Rome

1629

Quagliati, Paolo

.?

159s

Rome

CI 660

Scheidemann, Heinrich .

Hamburg

1596

Hamburg

1663

Cavalli, Francesco .

Crema

1600

Venice

1676

Chambonniers, Champion

de ....

?

1600

Venice

1670

Rovetta, Giovanni .

Venice

1600

Venice

1668

CHRONOLOGICAL TABLE

321

Name.

Bach, Johann .

Aylward, Richard

Schop, Johann

Child, William

Dumont, Henri

Lowe, Edward

Hammerschmidt,
Andreas

Bach, Christoph

Rogers, Dr. Benj. .

Bach, Heinrich

Gibbons, Cluistopher

Nivers, Guillaume Ga-
briel ....

Reinken, Johann Adam .

Ahle, John Rudolph

Legrenzi, Giovanni

Liberati, Antoine .

Brie gel, Wolfgang Carl .

Kerl, Johann Kaspar

Couperin, Louis

Albrici, Vincenzo

Couperin, Francis .

Locke, Matthew

Fabricius, Werner .

Froberger, Johann J.

Pasquini, Bernardo .

Couperin, Charles .

Buxtehude, Dietrich

Strungk, Nicolas Adam .

Alberti, Joh. Frederick .
Bach, Joh. Christoph
Bach, Joh. Egidius .
Bach, Joh. Ambrosius
Reading, John .
Werckmeister, Andreas .
Bach, Joh. Michael .
Blow (Dr.) John

Krieger, Johann Philipp .
Ahle, Johann G.
Pachelbel, Johann .
Blankenburg, Quirin von
Liibeck, Vincentius .
MuflEatt, George

Place and Date of
Birth.

Place and Date of
Death.

Wechmar 1604

Winchester ?

Germany 1605

Bristol 1606

Liege 1610

Salisbury 1610

Brux, Boh. 161 1

Wechmar 161 3

Windsor 1614

Weimar 161 5

Westminster 161 5

near Melun 161 7
Deventer 1623
Miihlhausen 1625
Clusone 1625
Foligno 1625
Darmstadt 1626
Ligoldstadt 1628
Chaume 1630
Rome 1 63 1
Chaume 1631
Exeter, Eng. 1632
Ttzehoe 1633
Halle 1635
Tuscany 1637
Chaume 1638
Helsingfors 1639
Celle, Hano-
ver 1640
Tonning 1642
Arnstadt 1642
Erfurt 1645
Erfurt 1645
England 1645
Ben eckenstein 1645
Arnstadt 1648
N. Colhng-

ham 164S

Nuremberg 1649

Miihlhausen 1650

Nuremberg 1653

Gouda 1654
Paddingbiittel 1654

Bremen ? 1654

Erfurt

Norwich

Hamburg

Windsor

Paris

Oxford

Zittau

Arnstadt

Oxford

Arnstadt

Westminster

1673
1669

1640

1697

1684

1682

1675
1661
1698
1692
1676

.'' living in

i70t

Hamburg

1722

Miihlhausen

1673

Venice

1690

?

1690

Darmstadt

171C

Munich

1693

Paris

1665

Prague

1696

Paris

1698

London

1677

Leipzig

1679

Hericourt

1695

Rome

1710

St. Gervais

1669

Liibeck

1707

Leipzig

1700

Merseburg

1710

Eisenach

1703

Erfurt

1717

Eisenach

1695

W^inchester?

1692

Halberstadt

1706

Gehren

1694

Westminster

1708

W eissenfels

1725

Miihlhausen

1706

Nuremberg

1706

Hague

1739

Hamburg

1740

Passau

1704

'322

CHRONOLOGICAL TABLE

Place and Date of

Place and Date

of

Name.

Hirth.

Death.

Lalande, Michael Richard

Paris

1657

Paris

1726

Purceli, Henry

Westminster

165S

Westminster

1695

Scarlatti, Alessandro

Trapani

1659

Naples

1725

Fux, Johann Joseph

Hirtenfield

i66q

Vienna

1741

Purceli, Daniel

London

1660

London

1718

Bohm, Georg

Goldbach

1661

Luneburg

1734

Zachau, Frederick W.

Leipzig

1663

Halle

1712

Bishop, John .

England

1665

Winchester

1737

Bruhns, Nicolaus .

Schaabstadt

1666

Hiisum

1697

Buttstedt, Johann H.

Bindeuleben

1666

p:rfurt

1727

Kuhnau, Johann

Geysing

1667

Leijjzig

1722

Lotti, Antonio

Venice

1667

Venice

1740

Couperin, Fran9ois .

Paris

1668

Paris

1733

March and, L. .

Lyons

1669

Paris

173-

Bach, Joh. Nikolaus

Eisenach

1669

Eisenach

1753

Clarke, Jeremiah

England

1669

London

1707

Murschauser, F. X. A. .

Alsace

1670

Munich

1735

Richardson, Vaughan

England

1670

Winchester

1729

Bach, Joh. Christoph

Erfurt

1 67 1

Ohrdruff

1721

Casini, Giovanni . .

Florence

1675

?

?

Bach, Joh. Bernhard

Erfurt

1676

Eisenach

1749

Clairembault, Louis N. .

England

1676

?

1749

Weldon, John

Chichester

1676

London

1736

Reading, John .

England

1677

London

1764

Croft, Wm. .

Nether-Eat-

ington

1678

Bath

1727

Couperin, Nicolas .

Paris

16S0

Paris

174S

Czernhorski, Bohu.slaw .

Bohemia

1680

liohemia

1740

Eckelt, Johann Valentin .

Wernings-

hausen

CI 680

Sondershausen

1734

Greco, Gaetano

Naples

1680

?

?

Mattheson, Johann .

Hamburg

1681

Hamburg

1764

Telemann, Georg Phillip

Magdeburg

i68t

Hamburg

1767

Robinson, John

P^ngland

1682

Westminster

1762

Ileinrich, Johann D.

Weissenfels

1683

Dresden

1729

Rameau, Jean P.

Dijon

1683

Paris

1764

Scarlatti, Domenico

Naples

1683

Naples

1757

Walther, John Gottfried .

Erfurt

1684

Weimar

1748

Bach, Joh. Sebastian

Eisenach

1685

Leipzig

1750

Gebel, Georg .

Breslau

1685

Breslau

1750

Handel, Georg Friedrich

Halle

1685

London

1759

Hine, Wm.

Oxford

1687

Gloucester

1730

Purceli, Edward

Westminster

1689

T-ondon

1740

Muffat, August G. .

?

1690

Vienna

1770

Roseingrave, Thomas

Dublin

1690

London.?

1750

Barrett, John .

England

1691

London

1740

CHRONOLOGICAL TABLE

323

Namb.

Place and Date

of

Place and Date of

Birth.

Death.

Bachofen, Johann Caspar

Zurich ]

692

Zurich

1755

Daquin, Louis Claude

Paris

1694

Paris

1772

Leo, Leonardo

Bnndisi

1694

Naples

1746

Greene, Maurice

London

[696

London

1755

Kunzen, Joliann Paul

Leisnig

1696

Liibeck

1770

Hurlebusch, Conrad F. .

Brannschweig

1696

Amsterdam

176?

Petrali, Vincenzo A.

Crema

1697

?

1780

Valotti, F. Antonio

Vercelli

1697

Padua

1780

Wagner, Georg G.

Miihlberg

169S

Plauen

1760

Adling, Jacob .

Erfurt

[699

Erfurt

1762

Schroter, Christopher G.

Hohenstein

[699

Nordhauser

1782

Eberlein, J. E.

Jettcrbach

17CO

Salzburg

1762

Kehvay, Thomas

England

[700

England

1749

Tansur, William

Dunchurch c\

700

St. Neots

1783

Gerber, Heinrich N.

Sonders-

hausen

[702

Sondershausen 1775

Kelway, Joseph

England

[702

England

1782

Sorge, Andreas

Mellenbach

1703

Lobenstein

1778

James, John

England

[704

England

1745

Pescetto, Giovanni B.

Venice

[704

Venice

1766

Sammartini, Giovanni B.

Milan c

[705

?

^1775

Zach, Johann .

Czelakowicz

[705

Bruschal

1773

Hayes, Wm. .

Hanbury

1706

Oxford

1777

Martini, Padre Giambat-

tista ....

Bologna

[706

Bologna

1784

Travers, John .

England

[706

England

1758

Avison, Charles

New Castle

1710

New Castle

1770

Bach, Wilhelm F . .

Weimar

[710

Berlin

1784

Berlin, Johann D. .

Memel i

710

Drontheim

1775

Boyce, William

London 1

710

Kensington

1779

Howard, Samuel

London 1

710

London

1782

Santarelli, A. G.

Forti ]

710

Rome

1770

Keeble, John .

Chiche;ter i

711

London

1786

Venturelli, G. .

Nubreil i

711

Modena

1775

Krebs, Johann L. .

Buttelstadt 1

[713

Altenburg

1780

Stanley, Chas. John

London

713

London

1786

Homilius, Gottfried A. .

Rosenthal i

[714

Dresden

1785

Alcock, John .

London

[715

Lichfield

1806

Doles, Johann F.

Stein bach ]

1715

Leipzig

1797

Nares, James .

Stanwell 1

715

London

1783

Worgan, John .

England ]

1715

London

1790

Segert, Joseph

Repin, Boh.

716

Prague

1782

Agricola, Johann F.

Quedlinburg 1

7.8

Matjdeburg

1785

Marpurg, F. W.

Seehausen 1

718

Berlin

1795

Rolle, Johann Heinrich .

Quedlin'iurg i

718

Magdeburg

1785

Kunzen, Adolf Carl

Wittenberg 1

720

Liibeck

1781

324

CHRONOLOGICAL TABLE

Name.

Place and Date

of

Place and Date of

Birth.

Death.

Couperin, Armand Louis

Paris 1

721

Paris

1789

Gheyn, Matthias van den

Tirlemont i

721

Lou vain

1785

Kirnberger, Johann

Saalfield i

721

Berlin

1783

Bach, Joh. Ernst

Eisenach i

722

Eisenach

fi777

Jones, John

London i

725

London

1796

Becker, Johann

Helsa ]

726

.'

1803

Barney, Chas. .

Shrewsbury

726

Chelsea

1814

Schmiigel, Johann Ch.

Hanover i

726

Mollen

1796

Richter, John Christian C.

Neustadt )

727

Schwarzen

1779

Aldgasser, Anton

Cajetan

Innzell i

728

Salzburg

1777

Richter, Carl G.

Berhn i

728

Konigsberg

i<So9

Langdon, Richard .

Exeter, Eng. i

729

Exeter

1803

Sarti, Giuseppe

Faenza i

729

Berhn

1802

Aylward, Theodore .

England i

730

London

1801

Charpentier, Jean J. B. .

Abbeville

[730

?

?

Goldberg, Johann Gott-

lieb ....

Konigsberg

1730

Dresden

1760

Jackson, William

f^xeter

^ll"^

Exeter

1803

Pasterwitz, Georg von

Passau

1730

Kremsmiinster 1803

Albrecht, Johann L.

Goimar

^IZ'2-

Miihlhausen

1773

Haydn, Josef .

Rohrau,

Austria

1732

Vienna

1809

Kittel, Johann Christian .

Erfurt l

[732

Erfurt

i8oq

Dupuis, Thomas S.

England

'733

London

1796

Nicolai, David T. .

(^.5rlitz

^733

Gijrlitz

1799

Zang, Johann lleinrich .

Zella

1733

Mainstockheim 181 1

Ayrton, Edmund

Yorkshire

1734

Westminster

1 80S

Cooke, Benjamin

London

1734

London

1793

Bach, Joh. Christian

Leipzig

'735

London

.1782

Bond, Hugh .

Exeter

'735

Exeter

1792

Langdon, Richard .

Exeter

1735

Exeter

1803

Miller, Edward

Norwich

'735

Doncaster

1S07

Albrechtsberger, Jo-

hann G. . . .

Vienna

[736

Vienna

1809

Beckmann, J. F. Gottlieb

1

'737

Celle

1792

Haydn, John Michael

Rohrau i

1737

Salzburg

1806

Battishill, Jonathan

London i

[738

Lslington

1801

Buroni, Antonio

Rome

'738

Rome

1797

Furlanetto, Bonaventura.

Venice i

'738

Venice

1817

Hayes, Philip

Oxford 1

'738

Oxford

1797

Herschel, Friedrich W. .

Hanover l

'738

Slough

1822

Corfe, Joseph .

Salisbury

1740

Salisbury

1820

Frick, Philipp Joseph

Wiirzburg

[740

London

1798

Webbe, Samuel

Minorca

[740

London

1816

Arnold, Samuel

London

'743

London

1802

CHRONOLOGICAL TABLE

325

Name.

Weinlig, Christian Elire-
gott . . . .

Sejan, Nicolas

Hook, James .

Hassler, Johann W.

Wainwright, Robert

Neefe, Christian G.

Stadler, Al)be Max .

Forkel, Johann N. .

Percy, John

Rembt, Johann E. .

Vogler, Geotg Joseph

Beckw-ith, John Christian

Franz, Joachim L. .

Sterkel, Abbe Johann
F. X

Vierling, Johann Gott-
fried . . . .

Fischer, Johann G.

Kucharz, Johann Baptist

Bianchi, Francesco .

Clementi, Muzio

Knecht, Justus H. .

Knyvett. Charles

Schicht, Johann Gottfried

Bachmann, Pater Sixtus

Banmgarten, Carl F.
Becvarovsky, Anton

Felix . . . .
Martin y Solar, Vincente
Bittoni, Bernardo
Busby, Thomas
Mozart, J. C. W. C.
Turck, Daniel Gottlob .

Cogan, Philip .
Danby, John .
Reeve, Wm. .
Calegari, Antonio .
Gelinek, Abbe Joseph
Greatorex, Thomas .
Jackson, William .
Beckwith, John C. .
Krommer, Franz
Schlirabach, Georg .

Place and Date of
Birth.

Dresden

Paris

Norwich

Erfurt

Liverpool

Chemnitz

Molk

Co burg

England

Suhl

Wiirzburg

Norwich

Havelberg

1743

1745
1746

1747
1747
1748

1748
1749
1749
1749

1749

1750

1750

Wiirzburg 1750

Metzels 1750

Freiburg r75i

Chotecz, Boh. 1751

1752

1752

1752
1752

1753

1754
1754

1754
1754
1755
1755
1756

1756
1757
1757
1757
1758
1758
1758
1758

1759
1760
1760

Cremona
Rome
Biberach
?

Reichenau
Kettershausen

Jungbunzlau
Valencia
Fabriano
Westminster
Salzburg
Claussitz,
Saxony
Doncaster
England
London
Padua
Selcz
Derby
Exeter
Norwich
Kamenitz
Ohrdruff

Place and Date of
Death.

Dresden

Paris

Boulogne

Moscow

Liverpool

Dessau

Vienna

GOttingen

Liverpool

Suhl

Darmstadt

Norwich

Kyritz

Mayence

Schmalkalden

Freiburg

Prague

Bologna

Evesham, Eng.

Biberach

London

Leipzig

Marchthal
London

Berlin

St. Petersburg

London
Vienna

Halle

>

London

London

Padua

Vienna

Hampton

Exeter,

Norwich

Vienna

813

819
827
822

782
798

833
818

797
810

814
809

789
817

«i3
821
829
811
832
817

818
824

823
810
829
838
791

813

828

789

815
828

825

831
803
809

831
8?

326

CHRONOLOGICAL TABLE

Place and Date of

Place and Date of

Name.

Birtli.

Death.

Abeille, Johann Christian

Bayreuth

1761

Stuttgart 1

838

Diissek, Joh. Ladislaus .

Caslav, Boh.

1761

Saint-Germain 1

812

Giirrlicli, Joseph Augus-

tine ....

Miinsterberg

1761

Berlin 1

817

Agthe, Carl Christian

Hettstadt

1762

Ballenstadt

t797

Ahlstrohm, A. J. R.

Stockholm

1762

.? c

[827

Bachmann, Gottlob

Bornitz

^l^Z

Zeitz

[840

Umbreit, Karl Gottlieb .

Rehstedt

1763

Rehstedt

[829

Holder, Joseph \Vm.

London

1764

London

1832

Attwood, Thomas .

London

1765

Chelsea

1838

Chard, George W. .

England

1765

Winchester

■849

Callcott, John Wall

Kensington

1766

Kensington

[821

Kaufmann, Carl

Berlin

1766

Vienna

1808

Ladurner, Ignas A. F. X.

Aldein, Tyrol

1766

Villain

1839

Reefe, John .

Greenwich

1766

?

1837

Wesley, Samuel

Bristol

1766

London

1837

Muller, August Eberhard

Nordheim

1767

Weimar

[817

Cabo, Francesco Xavier .

Valencia

1768

Spain

1832

Rimbault, Stephen F.

London

1768

London

1837

Clark-Whitfield, John .

Gloucester

1770

Hereford

1836

Grazioli, Giambattista

Venice

1770

Venice

1S20

Rinck, John Christian H.

Elgersburg

1770

Darmstadt

1846

W^ebbe, Samuel

London

1770

Hammersmith

1843

Rieder, Ambrosius .

Near Vienna

1771

Vienna

18 ^9

Bergt, Christian Gottlob .

Oderan

1772

Bantzen

1837

Carnaby, Wm.

London

1772

London

■839

Corfe, Arthur T. .

Salisbury

1772

Salisbury

1863

Baker, George

Exeter

-i-lll)

Rugeley

[847

Fischer, Michael Gott-

hard ....

Alack

"^111

Erfurt

1829

Horsley, Wm.

London

1774

London

[858

Linley, Frances

Doncaster

1774

Doncaster

t8oo

Thomaschek, Johann W.

Skutsch

1774

Prague

1850

Chappie, vSamuel

Crediton

1775

Ashburton

1847

Crotch, William

Norwich

1775

Taunton

1847

Barthel, Joh. Christian .

Plauden

1776

Altenburg

1831

Smart, George (Sir)

London

1776

London

1867

Werner, John Gottlob .

Grossenhain

1777

Merseburg

[822

Russell, Wm.

London

1777

London

1813

Gansbacher, J. B. .

Sterzing

1778

\jenna

1844

Jacob, Benjamin

London

1778

London

r829

Kemp, Joseph .

Exeter

1778

London

1824

Neukomm, Sigismund

Salzburg

177S

Paris

1858

Riem, Friedrich Wilhelm

Kolleda

1779

Bremen

1S57

Taskin, Henri Joseph

Versailles

1779

Paris

■

1852

CHRONOLOGICAL TABLE

327

Name.

Place and Date of

Place and Date of

Birth.

Death.

Berner, Friedrich W.

Breslau

1780

Breslau

1827

Novello, Vincent

London

1781

Nice

1861

Piazza, Pietro .

Milan

1781

Milan

1855

Purkis, John .

London

1781

London

1849

Blewitt, Jonathan .

London

1782

London

1853

Dreschler, Joseph .

Wallisch-Boi-

ken. Boh.

1782

Vienna

1852

Schneider, Wilhelm

Neudorf, Sax

1783

Merseburg

1843

Walmisley, Thomas

London

1783

London

1866

Fetis, Fran9ois Joseph .

Mons, Bel.

1784

Brussels

1871

Klengel, August A.

Dresden

1784

Dresden

1852

Adams, Thomas

London

1785

London

1858

Boely, Alexandre P.

Versailles

1785

Paris

1858

Blum, Karl Ludwig .

Berlin

1786

Berlin

1844

Hamel, Marie-Pierre

Auneuil

1786

Beauvais

1870

Schneider, Joh. Christian

Alt-Walters-

dorf

1786

Dessau

1853

Bohner Johann L. .

near Gotha

1787

Gotha

1869

Burrowes, John F. .

London

1787

London

1852

Beckwith, John C. .

Norwich

1788

Norwich

1819

Ett, Kaspar

"Erringen

1788

Munich

1847

Sechter, Simon

Friedburg

1788

Vienna

1867

Schneider, Joh. (Gottlob)

Alt-Gersdorf

1789

Dresden

1864

Antony, Franz Joseph

Miinster

1790

Miinster

1837

Assmayer, Ignaz

Salzburg

1790

Vienna

1862

Pohlenz, Christian A.

-Saalgart

1790

Leipzig

1843

Topper, Johann G. .

Neiderrossla

1791

Weimar

1870

Worischek, Johann G. .

Vamberk,

Boh.

1791

Vienna

1825

Kellner, Ernst August

Windsor

1792

London

1839

Zollner, Carl H.

Ols

1792

Hamburg

1836

Perry, George .

Norwich

1793

Norwich

1862

Benoist, Fran5ois

Nantes

1794

Paris

1878

Jolly, John

Cheshire

1794

London

1830

Albeniz, Pedro

Legroiio

1795

Madrid

1855

Bach, August Wilhelm .

Berlin

1796

Berlin

1896

Hodges, Edward

Bristol

1796

Clifton

1867

Nixon, Henri G.

Winchester

1796

London

1849

Bibl, Andreas .

Vienna

1797

Vienna

1878

Freudenberg .

Sipta

1797

Breslau

1869

Lambillotte, Pere Louis .

Charleroi

1797

Vaugirard

1855

Enckhausen, Heinrich F.

Celle

T799

Hanover

1885

Hayter, A. W .

Gillingham,

Eng.

1799

Boston, Mass.

^1870

Kbhler, Ernst .

Langenbielau

1799

Breslau

1847

Goss, John

Fareham

1800

Brixton

1880

323

CHRONOLOGICAL TABLE

Namb.

Grell, Eduard August
Oliver, Henry Kemble

Turle, Jas.

Webb, George Jas. .

Becker, Karl Ferdinand .
Forbes, Henry
Elvey, Stephen
Schneider (Johann Julius)
Weber, Franz .
Gauntlett, Henry John .
May, Edward Collett
Wendt, Ernst A.
Callcott, Wm. Henry
Eslava, Don Miguel H. .
Fiihrer, Robert
Mattheson-Hansen, Hans
Preyer, Gottfried
Saldoni, Don Baltasar
Vogel, Friedrich Wilhelm
Andre, Julius. .
Gauthier, Gabriel .

Richter, Ernst F. E.

Hesse, Adolf (Friedrich) .

Kiihnstedt, Frit-drich

Jimmerthal, Hermann

Mendelssohn, Felix .

Bayley, Wm. .

Concone, Giuseppe .

Haiipt, Karl August

Kiicken, Friedrich Wil-
helm . . . .

Nicolai, Otto .

Rotter, Ludwig

Wesley, Samuel Sebas-
tian

Beckel, James Cox .

Capocci, Gaetano

Flowers, Geo. F.

Lachner, Vincenz

Ritter, August G. .

Timm, Henry Christian .

Bastians, J. G.

Place and Date of

Place and Date of

Birth.

Death.

Berlin

1800

Steglitz

1886

Beverly,

Mass.

1800

Boston

1885

Taunton, Eng

.1801

London

1882

Rushmore

Lodge

1803

Orange, N. J.

1887

Leipzig

1804

Leipzig

1877

London

1804

London

1859

Canterbury

1805

( )xford

i860

Berlin

1805

Berlin

1885

Cologne

1805

Cologne

1876

Wellington

1806

Kensington

1876

Greenwich

1806

London

1887

Schweibus

1806

Neuweid

1850

Kensington

1807

London

1882

Pamplona

1807

Madrid

1878

Prague

1807

Vienna

1861

Fleusburg

1807

Roeskilde

1890

Hausbrunn

1807

>

_?

Barcelona

1807

?

1890

Havelberg

1807

?

?

Offenbach

1808

Frankfort

1880

Saone-et-

Loire

1808

?

?

Gross, Schb-

nau

1808

Leipzig

1879

Breslau

1809

Breslau

1863

Oldisleben

1809

Eisenach

1858

Liibeck

1809

Liibeck

1886

Hamburg

1809

Leipzig

1847

London

1810

London

1858

Turin

1810

Turin

1861

Kunern

1810

Berlin

1891

Bleckede

1810

Schwerin

1882

Kbnigsberg

1810

Berlin

1849

Vienna

1810

Vienna

1895

I-ondon

1810

Gloucester

1876

Philadelphia

1811

?

?

Rome

1811

Rome

1898

Boston, Eng.

1811

London

1872

Rain

1811

Karlsruhe

1892

Erfurt

1811

Magdeburg

1885

Hamburg

1811

New York

1892

Welp

1812

Haarlem

1875

CHRONOLOGICAL TABLE

329

Name.

Place and Date
Birth.

of

Place and Date
Death.

of

Fliigel, Gustav.

Nienburg on

Saale 1

812

Stettin

1900

Hanisch, Joseph

Ratisbon ]

812

Ratisbon

1892

Nisard, Theodore .

Quaregnon ]

812

Volckmar, Wilhelm

Hersfeld 1

812

Homberg

1887

Commer, Franz

Cologne ]

813

Berlin

1887

Corfe, Chas. Wm. .

Salisbury 1

813

Oxford

1883

Meluzzi, Salvatore .

Rome 1

813

Rome

1897

Moniuszko, Stanislaw

Ubiel, Lithua-

nia I

813

Warsaw

1872

Pentenrieder, Franz X. .

Kaufbeuren,

Bav. 1

813

Munich

1867

Smart, Henry .

London 1

813

London

1879

Abela, Don Placido

Syracuse i

814

Monte Cassino

1876

WaJmisley, Thomas A. .

London 1

814

Hastings

1856

Berthold, K. F. Th. .

Dresden ]

815

Dresden

1882

Brosig, Moritz

Furchswinkel

[815

Breslau

1887

Done, Wm.

Worcester,

Eng. 1

815

Worcester

1895

Grosjean, Jean-Romary .

Rochesson 1

8IS

St. Die

1888

Franz, Robert .

Halle 1

815

Halle

1892

Jackson, Wm.

Masham 1

815

Bradford

1866

Elvey, Sir George J.

Canterbury i

816

Windlesham

1893

Engel, David Hermann .

Neuruppin 1

[816

Merseburg

1877

Krenn, Franz .

Dross

[816

St. Andra vom

Hagenthal

1897

MarkuU, Friedrich .

Reichenbach

[816

Danzig

1887

Pittman, Josiah

London

[816

Rimbault, Edward F.

London

[816

London

1876

Schellenberg, Hermann .

Leipzig ]

816

Plagwitz

1862

Thiele, Carl Ludwig

Harzegerode

[816

Berlin

1848

Gade, Niels Wilhelm

Copenhagen

[817

Copenhagen

1890

Lefebure-Wely, Louis

J- A

Paris

I8I7

Paris

1869

Leybach, Ignace

Gambsheim

I8I7

Toulouse

1891

Kuntze, Carl .

Trier

I8I7

Delitzsch

1883

Stade, Friedrich W.

Halle

I8I7

Altenburg

1902

Battman, Jacques L.

Alsace

I8I8

Dijon

1886

Hopkins, Edward John .

Westminster

I8I8

Rochester

1900

Jackson, Samuel P.

Manchester

I8I8

Brooklyn

1885

Kufferath, Hubert .

Muhlheim

[8:8

Brussels

1896

Cavallo, Peter

Munich

[819

Paris

1892

Farmer, Henry

Nottingham

[819

Nottingham

1891

Langer, Herman

Hockendorf

1819

Dresden

1819

Longhurst, Wm. H.

Lambeth i

819

Monk, Edwin George

Frome 1

819

England

1900

330

CHRONOLOGICAL TABLE

Namb.

Place and Date of

Place and Date

of

Birth.

Death.

Stirling, Elizabeth .

Greenwich i

1819

London

1895

Sturges, Edmund

London

[819

London

1849

Tuckerman, Samuel P. .

Boston, Mass.

819

Newport, R. L

1890

Batiste, Antoine E.

Paris 1

820

Paris

1870

Cooper, George

Lambeth i

820

London

1876

Franck, Joseph

Liege

1820

Gurlitt, Cornelius .

Altona

[820

Altona

1901

Hopkins, John L. .

Westminster

820

Ventnor

1873

Lux, Friedrich

Ruhla

[820

Mayence

1895

Redhead, Richard .

Harrow, Eng.

[820

Root, George Frederick .

Sheffield

[820

Barley's Island

[189s

Stimpson, James

Lincoln

[82c

Vierling, Georg

Frankenthal

[820

Bonicke, Hermann .

Endorf

1821

Hermannstadt

1879

Calcott, John G.

l-ondon

1821

London

1895

Harraden, Samuel .

Cambridge

1821

Hampstead

1897

Rebling, Gustav

Barby

1821

Magdeburg

1902

Stephens, Chas. Edward .

London

1821

London

1892

Conradi, August

Berlin

1821

Berlin

1887

Clement, Felix

Paris

t822

Paris

1885

Franck, Cesar Auguste .

Liege i

[822

Paris

1890

Herzog, Johann Georg .

Schmolz 1

[822

Lambeth, Henry A.

Gosport J

822

Litzavv, Johannes .

Rotterdam i

822

Rotterdam

1893

Nightingale, Joseph C. .

Liverpool i

822

Reinthaler, Carl M.

Erfurt ]

822

Bremen

1896

Rust, Wilhelm

Dessau ]

822

Leipzig

1892

Young, John M. W.

Durham i

822

Norwood

1897

Chipp, Edmund Thomas .

London

[823

Nice

1886

Eycken, Jan A. von

Amersfoort

[823

Elberfeld

1864

Faisst, Immanuel G. F. .

Esslingen

1823

Stuttgart

1894

Lemmens, Jacques-

Nicolas

Zoerle-Parwys

[823

M alines

1881

Lijtzel, Johann Heinrich .

Iggleheim

823

Zweibriicken

1899

Monk, W. Henry .

London

[823

Stoke-Newing-
ton

1889

Schwencke, Friedrich G. .

Hamburg ]

1823

Hamburg

1896

Spark, Dr. William

Exeter, Eng. i

823

Leeds

1897

Witt, Theodor de .

Wesel I

823

Rome

1855

Zellner, Leopold

A gram i

823

Vienna

1894

Bexfield, W. Richard

Norwich i

824

London

1853

Bruckner, Anton

Ansfelden i

824

Vienna

1896

Coward, James

London i

824

London

1880

Ferrari, Serafino A. de .

Genoa i

824

Genoa

1885

Fawcett, John

Bolton-le-

Moors 1

824

Farnworth

1857

CHRONOLOGICAL TABLE

331

Place and Date of

Place and Date of

Name.

Birth.

Death.

Kirchner, Th.

Neukirchen

[824

Bristow, George Fred-

erick ....

Brooklyn

1825

N. Y.

1898

Hoi, Richard .

Amsterdam

[825

Ouseley, Sir Frederick

A. G

London i

825

Hereford

1889

Stewart, Robert P. .

Dublin 1

1825

Dublin

1894

Walter, Wm. Henry

Newark i

825

Best, Wm. Thos. .

Carlisle

[826

Liverpool

1897

Coccon, Nicolo

Venice l

[826

Hiles, Henry .

Shrewsbury

[826

Martin, Geo. W.

London i

826

New York ?

Papperitz, Benjamin R. .

Pirna, Sax. i

826

Steggall, Chas.

London

1826

Belcher, Wm. T. .

Birmingham

1827

Calkin, John Baptiste

London

[827

Fischer, Adolf

Uckermlinde

[827

Breslau

1893

Gottschalg, Alexander

Mechelrode

[827

Hagemann, Fran9ois W. .

Zutphen

[827

Lake, Geo. H.

Uxbridge

[827

London

1865

Merkel, Gustav (Adolf) .

Oberoderwitz

[827

Dresden

1885

Nunn, John H.

Bury St.
Edmunds

1827

Phelps, Ellsworth C.

Middletown,
Conn.

1827

Rea, Wm.

London

1827

Cornell, John Henry

New York

1828

New York

1894

Dommer, A. von

Danzig

1828

Fischer, Carl August

Ebersdorf

1828

Dresden

1892

Gevaert, Frangois

Auguste

Huysse

1828

Parker, Jas. Cutler Dunn.

Boston, Mass.

1828

Reay, Samuel .

Hexham

1828

Warren, George W.

Racine, Wis.

1828

New York

1902

Brown, Obadiah Bruen .

Washington

1829

Boston

1901

Lichner, Heinrich .

Harpersdorf

[829

Breslau

1898

Nicolai, Wilhelm Fred-

erick ....

Leyden

1829

The Hague

1896

Papier, Ludwig

Leipzig

1829

Leipzig

1878

Stiehl, Heinrich Franz

Liibeck,

1829

Reval

1886

Vilbac, Alphonse-Charles

MontpeUer,

Fr.

1829

Paris

1884

Barry, Chas. Ainslie

London

1830

Durand, Marie Auguste .

Paris

1830

Fumagalli, Polibio .

Inzago

1830

Milan

1893

Oakeley, Sir Herbert

Ealing

1830

332

CHRONOLOGICAL TABLE

Name.

Radecke, Albert Martin

Skuhersky, Franz Z.
Tilborghs, Joseph
Jansen, F. Gustav
Fink, Christian
Palloni, Gaetano
Westljrooke, Wm. J.
Bibl, Rudolph .
Matthison-Hansen, Got-

fred
Naumann, Karl Ernst
Allen, Geo. B.
Bache, Francis E. .
Cross, Michael Hurley
Cusins, Sir Wm. Geo.
Elliott, James Wm.
Forster, Joseph .
Habert, Johannes E.
Hermesdorf, Michael
Mailly, J. E. .
Bunnett, Edw.

Garrett, Geo. Mursell
Thorne, Edward Henry .
Cohen, Jules Emile-David
Dearnaley, Irvine
Fromm, Emil .
Prout, EJjenezer
Saint-Saens, Charles C. .
Torrance, Rev. George

Wil

Ward, John Chas. .

Young, Wm. J.
Armes, Phillip
Dornton, Chas.
Farmer, John .
Hartmann, Emil (Jr.)
Hopkins, Edw. Jerome .

Irgang, Friederich Wil-

helm . . . .
Lott, Edwin Matthew

Pearce, Stephen Austen .

Place and Date of
Birth.

Dittmanns-

dorf
Bohemia
Nieuwmoer
Jever
Dettingen
Camerino
London
Vienna

Roeskilde

Freiberg

London

Birmingham

Philadelphia

London

Warwick

Osojnitz

Oberplau

Trier

Brussels

Shipham,

Eng.
Winchester
Cranborne
Marseilles
England
Spremberg
Oundle
Paris

1830
1830
1830
183 1
1831
1831
1831
1832

1832
1832

1833
1833
1833
1833
1833
1833
1833
1833
1833

1834
1834
1834
1835
1835
1835
1835
1835

Rathmines

183 s

Upper Clap-

ton

1835

Durham

1835

Norwich

1836

London

1836

Nottingham

1836

Copenhagen

1836

Burlington,

Vt.

1836

Hirschberg

1836

St. Helier,

Jersey

1836

London

1836

Place and Date of
Death.

Budweis

1892

Sydenham 1894

Brisbane 1897

Birmingham 1858
Philadelphia 1897
Remonchamps 1893

Gmunden
Trier

Cambridge
England

1896
1885

1897
189s

Oxford 1 90 1

Copenhagen 1898

Athenia, N. J. 1898

1902

CHRONOLOGICAL TABLE

333

Place and Date of

Place and Date of

Name.

Birth.

Death.

Bergner, Wilhelm .

Riga

1837

Carter, Henry .

London

1837

Chauvet, Chas. Alexis .

Marnes

1837

Argentan

1871

Dubois, Clement-Fran9ois

Rosnay

1837

Fairlamb, Jas. Remington

Phila.

1837

Gaul, Alfred Robert

Norwich

1837

Guilmant, Alexandre-

Felix

Boulogne

1837

Lang, Benjamin Johnson

Salem, Mass.

1837

Rheinberger, Joseph G. .

Vaduz

1837

Munich

1901

Succo, Reinhold

Gorhtz

1837

Breslau

1897

Torrington, Frederick

Dudley, Eng.

1837

Turpin, Edmund H.

Nottingham

1837

Archer, Frederick .

Oxford

1838

Pittsburg, Pa.

1901

Barnby', Sir Joseph .

York

1838

London

1896

Fuchs, Karl Dorius J.

Potsdam

1838

Naylor, John .

Stanningley

1838

At sea

1897

Thayer, Eugene Whitney

Mendon,

Mass.

1838

Burlington, Vt

1889

Bohn, Emil

Bielan

i!-j9

Buck, Dudley .

Hartford,
Conn.

1839

Callaerts, Joseph .

Antwerp

1839

Clarke, Hugh Archibald .

Toronto, Ont

.1839

Dienel, Otto .

Silesia

1839

Paine, John Knowles

Portland, Me

.1839

Amadei, Roberto .

Loreto

1840

Andreoli, Carlo

Mirandola

1840

Capocci, Filippo

Rome

1840

Clark, Rev. Fred Scotson

London

1840

London

1883

Clarke, Wil. Horatio

Newton,

r

Mass.

1840

Hill, Junius Welch

Hingham,
Mass.

1840

Jackson, Robert

Oldham

1840

Lange, Samuel de

Rotterdam

1840

Schiedermayer, Joseph .

Ling on
Danube

1840

Stainer, Sir John

London

1840

London

1901

Wermann, Frederick

Oskar ....

Nerchen,
Saxony

1840

Clarke, Jas. Hamilton S. .

Birmingham,
Eng.

1840

Bohm, Joseph .

Kiihnitz

1841

Vienna

1893

Crow, Edwin John .

Sittingboume 1841

334

CHRONOLOGICAL TABLE

Place and Date of

Place and Date of

Name.

Birth.

Death.

Lange, Daniel de

Rotterdam

1841

Naylor, Sydney

London

1841

London

1893

Parratt, Sir Walter .

Huddersfield

1841

Warren, Samuel Prowse .

Montreal

1841

Caldicott, Alfred James .

Worcester

1842

near Glouces-
ter

1897

Fleischer, Reinhold

Dahsau,
Silesia

1842

Gadsby, Henry Robert .

Hackney

1842

Sullivan, Sir Arthur S. .

London

1842

London

1900

Thomas, G. A.

Reich enbach

1842

St. Petersburg

1870

Whiting, George Elbridge

Holliston,
Mass.

1842

Whitney, Sam. Brenton .

Woodstock,
Vt.

1842

Blumenthal, Paul .

Steinau-on-
Oder

1843

Diemer, Louis

Paris

1843

Dyer, Arthur E.

Frome, Eng.

1843

England

1902

Florio, Caryl .

Tavistock

1843

Bridge, Sir John Fred.

Oldbury, Eng

1844

De Mol, Fran9ois-Marie .

Brussels

1844

Ostend

1883

Flagler, Isaac Van Vleek

Albany

1844

Fliigel, Ernest Paul

Stettin

1844

Gigout, Eugene

Nancy

1844

Gradener, Hermann, Th.

Otto ....

Kiel

1844

Martin, Sir Geo. C.

Lambourne,
Eng.

1844

Peace, Albert Lister

Huddersfield

1844

Vasseur, Leon

Bapaume

1844

Gladstone, P' ranees, Edw.

Summertown,
Eng.

1844

Bartlett, Homer Newton

Olive, N. Y.

1S45

Bernard, Emile

Marseilles

1845

Boise, Otis Bardwell

Oberlin, O.

1845

Crament, John Maude

Yorkshire

1845

Hewlett, Thomas .

?

1845

?

1874

Riseley, George

Bristol

1845

Widor, Charles Marie

Lyons

1845

Piutti, Karl

Elgersburg

1846

Leipzig

1902

Root, Frederick Wood-

man

Boston, Mass

.1846

Wingham, Thomas .

London

1846

London

1893

Blake, Chas. Dupee

Walpole,
Mass.

1847

CHRONOLOGICAL TABLE

335

Place and Date of

Place and Date of

Name.

Birlh.

Death.

Forchhammer, Theodor .

Schiers

1847

Ihffe, Frederick

Leicester,
Eng.

1847

Keeton, Haydn

Derbyshire

1847

Rogers, Roland

W. Bromwich

1847

Allen, Nathan H. .

Marion, Mass.

1848

Attrup, Karl .

Copenhagen

1848

Bowman, Edw. Morris

Barnard, Vt.

1848

Falk, Louis

Germany

1848

Frost, Chas. Joseph

Westbury on
Trym

1848

Frost, Henry Frederick .

London

1848

Gleason, Fred Grant

Middletown,
Conn.

1848

Kniese, Julius .

Roda, nr. Jena 1848

Kretzschmar, August

F. H. ...

Olbernham,
Sax.

1848

Nicholl, Horace Wadham

Tipton, Eng.

1848

Parry, Sir Chas. Hubert

Hastings

Bournemouth
Eng.

1848

Shepard, Thomas Griffin

Madison,
Conn.

1848

Wangemenn, Otto .

Loritz-on-the-
Peene

1848

Wilkins, Hervi D. .

Italy, N. Y.

1848

Armbrust, Karl F. .

Hamburg

1849

Hanover

1896

Biedermann, Edw. Julius

Milwaukee,
Wis.

1849

Lloyd, Chas. Harford

Thornbury,
Eng.

1849

Wiegand, August .

Liege

1849

Bonvin, Ludwig

Siders, Swit-
zerland

1850

Claussman, Aloys .

Uffholz,
Alsace

1850

Mann, Arthur Henry

Norwich, Eng

.1850

Marchant, Arthur, Wil. .

London

1850

Crowest, Frederick J.

London

1850

Eddy, Clarence H. .

Greenfield,
Mass.

1851

Foster, Miles Birket

London

1851

Walter, Geo. Wm.

New York

1851

Batchelder, J. C. .

Topsham, Vt

1852

Pyne, James K.

Bath

1852

336

CHRONOLOGICAL TABLE

M > «>n

Place and Date of

Place and Date of

rVAME.

Birth.

Death.

Spinney, Walter S.

Salisbury

1852

? 1894

Stanford, Chas. V. .

DubUn

1852

Vincent, Chas. John

Houghton - le

-

Spring, Dur

-

ham

1852

Eyre, Alfred James

London

1853

Bridge, Joseph Cox

Rochester

1853

Dunham, Henry Morton

Brockton,

Mass.

1853

Goetschius, Percy .

Paterson,N.J.

1853

Homeyer, Paul Joseph .

Osterode

1853

Rousseau, Samuel .

Paris

1853

Selby, Bertram Luard

Kent, Eng.

1853

Chadwick, Geo. Whitfield

Lowell, Mass

1854

Hale, Philip .

Norwich, Vt.

1854

Ochs, Traugott

Altenfeld

1854

Russell, Louis Arthur

Newark, N. J

1854

King, Oliver A.

London

1855

Messager, Andre Chas.

Prosper

Montlucon

'allier

1855

Renaud, Albert

Paris

i8s5

White, John .

W. Springfield,

Mass.

1855

Bird, Arthur .

Cambridge,

Mass.

1856

Brewer, John Hyatt

Brooklyn,

N. Y.

1856

Elgar, Edw. Wil. .

Broadheath,
Worcester,

England

1857

Pasmore, Henry Bickford

Jackson, Wis

1857

Spinney, Rev. T. Her-

bert S. . . .

Salisbury

1857

Kohout, Franz

Hostin, Boh.

1858

Shelley, Harry Rowe

New Haven,

Conn.

1858

Coombs, Chas. Whitney .

Bucksport,

Me.

x8S9

Smith, Gerrit .

Hagerstown,

Md.

1859

Haynes, Walter Battison .

Kemprey,

Eng.

1859

Erb, Maria Joseph .

Strassburg

i860

Woyrsch, Felix von

Troppau,

Silesia

i860

CHRONOLOGICAL TABLE

337

XT . ..w^

Place and Date of i

Place and Date of

JN AME.

Birth.

Death.

Bossi, Marco Enrico

Salo, Italy

1861

Truette, Everett E. .

Rockland,

Mass.

1861

Owst, Wilberfoss Geo. .

London

1861

Wild, Harrison M.

Hoboken,

N.J.

1861

Woodman, Raymond

Huntington

Brooklyn,

N. Y.

1861

Boellmann, Leon

Ensisheim

1862

Paris 1897

Chapius, Augusti-Paul- .

Jean Baptiste

Dampierre-

sur-Salon

1862

Harris, Charles Albert

Edwin

London

1862

Mirande, Hippolyte

Lyons

1862

Walter, Cari .

Cransberg,

Taunus

1862

Bennett, George John

Andover, Eng

1863

Combs, Gilbert Raynolds

Philadelphia,

Pa.

1863

Noszler, Karl Eduard

Reichenbach

1863

Parker, Horatio Wil.

Auburn dale.

Mass.

1863

Pierne, Henri-Constant- .

Gabriel

Metz

1863

Sinclair, George R.

Croydon, Eng

1863

Shepard, Frank Hartson .

Bethel, Conn

1863

Tonking, Henry C.

Camborne

1863

West, John Ebenezer

So. Hackney,

London

1863

Tebaldini, Giovanni

Brescia

1864

Cari, WU. Crane .

Bloomfield,

N.J.

1865

HolUns, Alfred

Hull, Eng.

1865

Lemare, Edwin H. .

Ventnor, Eng

.1865

Donizetti, Alfredo .

Smyrna

1867

Davies, Henry Walford

Owestry

1869

Dunkley, Ferdinand

London

1869

Goodrich, Wallace .

Newton,

Mass.

1871

BQsser, Henri-Paul .

Toulouse

1872

Loud, John Hermann

Weymouth,

Mass.

1873

Dethier, Gaston M.

Liege

1875

INDEX

Abeille, Joh. Chr. Ludwig, 109.
Adam, Adolphe, 161.
Adams, Thomas, 137, 147, 203.
Adlung, Jacob, 106.
Aichinger, Gregor, 10.
Albrechtsberger, Joh. Georg, 107,

108, no.
Alcock, John, 125.
Allen, Nathan H., 276.
Alraschid, Haroun, 3.
Amner, John, 39.
Andrews, G., 295.
Andrews, J. Warren, 288, 289.
Archer, Frederick, 212-215, 222.
Armstroff, Andreas, loi.
Arne, Doctor, 126.
Arnold, Samuel, 39, 127, 128.
Aspull, 112.
Attwood, Thomas, 128-130, 186,

192, 234, 235.
Austin, J. T., 310.

Babcock, W. J., 269.

Bach (other than J. S.), 74-76,
79, 98, 99, 103, 105, 106, 115,
148.

Bach, J. S., 6, 9, 10, 12, 16, 20,
22, 70, 74, 76-98, 100, 102,
103, 104, 105, 106, 107, III,
131, 132, 138, 139, 140, 142,
143, 146, 147, 149, 151, 153,
155. 157. 158, 173. 202, 203,
221, 222, 234, 236, 237, 250,
254, 260, 292, 297, 298.

Baldwin, Samuel A., 270, 294.
Bancroft, Silas A., 261.
Bannister, John, 67.
Barcroft, George, 39.
Barker, C. S., 303, 304, 305, 309.
Barnard, Rev. John, 41.
Barnby, Sir Joseph, 238.
Barrel!, Edgar P., 295.
Barrett, Wm. A., 29, 60, 216.
Batiste, Antoine E., 162-166,

199, 274, 275.
Batten, Adrian, 39.
Battishill, Jonathan, 127.
Beale, H. W., 274, 281.
Beckwith, 128.
Beethoven, L. von, 19, 107, 108,

no, 155.
Bennett, Joseph, 233, 237, 238.
Bennett, Sir W. Sterndale, 25,

226.
Benoist, Francois, 161, 167, 181.
Berkely, Bishop, 241.
Bernhard, 5, 23.
Best, W. T., 193, 199-205, 219,

222, 224, 229, 272, 287, 298,

306.
Bevin, Elway, 36.
Bird, Arthur, 150.
Bishop, Sir Henry, 134.
Bishop, J. C, 302, 303. 309.
Bissell, Simeon, 281, 282.
Bissell, Thomas, 281.
Blitheman, William, 33.
Blondell, 249.

339

340

INDEX

Blow, John, 47, 48, 50, 52, 56,

57, 5^' 60.

Boely, Alexandre, 158.
Booth, Jos., 303, 304, 309.
Bossi, Enrico, 184, 185.
Bowman, Edward Morris, 275.
Boyce, Dr. William, 39, 46, 48,

58, 62, 121, 122, 124, 126, 127,
128.

Brattle, Thomas, 239.
Bridge, Joseph Cox, 225.
Bridge, Sir John, 225, 275.
Bridge, R., 302.
Brind, Richard, 61.
Britton, Thomas, 66.
Bromfield, Edward, 242, 243.
Brooks, Henry M., 243.
Brown, P. B., 295.
Bruhns, Nikolaus, 22.
Bryceson, 305.
Buck, Dudley, 268-271, 272.
Bull, Dr. John, 33-36.
Buononcini, 61.
Burdette, George A., 295.
Burkenhead, John L., 245.
Burney, Doctor, 5, 60, 70, 125,

126.
Busby, Doctor, 128, 129.
Biisser, Henry Paul, 182.
Buttstedt, J. H., loi.
Buxteiiude, Dietrich, 20-22, 65,

77, 78, 120.
Byiield, 302.
Byrd, William, 31, 32, 33, 37.

Callcott, John Wall, 128, 129.
Callaerts, Joseph, 183.
Calvisius, Seth, 11.
Camidge, John, 128.
Caniidge, Matthew, 129.
Camidge. Jr., John, 129.
Capocci, Gaetano, 184.
Capocci, Filippo, 184, 185.
Carl, William C, 286-294.
Carter, Ahce, 279.
Carulli, Gustavo, 171.
Casson, 307.

Cavaille-Coll, 173, 178, 303.
Cavalli, Pietro F., 27.

Chadwick, George W., 154, 295.

Charlemagne, 2.

Chauvet, Charles Alexis, 159,

170, I73'
Childe, William, 36, 39, 40.
Chipp, Dr. Edward, 193, 194.
Chorley, Henry F., 141, 144,

219.
Chouquet, Gustave, 168.
Clarke, Jeremiah, 48, 50, 57, 58,

61.
Clarke, Rev. F. Scotson, 217.
Clementi, 18.
Clemm, John, 242.
Clerembault, 162.
Cliquot, 178.
Coerne, Louis, 295.
Colborne, Langdon, 228.
Cooke, Benjamin, 54, 124, 127.
Cooke, Henry, 47, 50.
Cooper, George, 191, 192, 216,

231.
Cooper, Samuel, 249.
Coppeau, 162.
Corelli, 57.
Corey, N. J., 295.
Corfe, 128, [97, 198, 228, 250.
Coward, James, 199.
Croft, William, 48, 55, 57, 58,

59,61.
Crotch, Doctor, 129, 133, 135,

136, 224.
Ctesibius, i.
Cummings, 302, 308.
Cushman, Charlotte, 256.
Cutter, E., 295.

Dallarn, Ralph, 40, 43, 300.
Dallam, Robert, 43, 300.
Dallam, Thomas, 300.
Davenant, William, 42.
Dehn, S. W., 149.
Delibes, 169.
Despres, Josquin, 7.
Dethier, Gaston M., 293.
Dietsch, 176.
Dipper, 244.
Douglas, Ernest, 295.
Draghi, John Baptista, 51, 52.

INDEX

341

Dubois, C. F. Th., 159, 168-170,

177, 17S, 182.
Dubourg, Matthew, 67.
Ducis, Benoit, 7.
Ducroquet, 303.
Duddington, Anthony, 28.
Dunham, Henry M., 283, 284,

294, 295.
Dupuis, Thomas Saunders, 126.
Dwight, J. S., 250.

Eberlin, Joh. Ernst, 106.
Eddy, Clarence, 150, 282, 283,

286, 294.
Elvey, Sir George, 195, 210, 216,

219.
Elwart, Professor, 172.
England, G. P., 69.
Enstone, Edward, 240.
Erbach, Christian, 10.
Erben, 241.
Erdmann, 85.
Erich, David, 22.
Eybler, 107.

Faber, Nicolas, 4.

Faisst, E. G. F., 140, 152.

Falk, Louis, 275.

Farrant, Richard, 32.

Faure, Gabrieli Urbain, 176, 177.

Festing, Rev. Michael, 62.

Fetis, 177, 183.

Fink, 140.

Flagler, I. van Vleck, 274.

Flight & Robson, 137.

Flight, B., 302, 308.

Foote, Arthur, 295.

Franck, Cesar, 159, 177, 181, 182,

292.
Frescobaldi, G., 15, 26, 27, 118.
Friese, Heinrich, 82.
Froberger, J. J., 14-16, 38.
Fux, Joh. Joseph, 17-20, 113.

Gabrieli, Andrea, 23-25.
Gabrieli, G., 8, 12, 24, 114, 183.
Gansbacher, Johann, no.
Garrett, George Mursell, 211,
238.

Gauntlett, Doctor, 146, 187, 188,

193. 304-306, 309.
Gerber, Heinrich N., 107.
Giafur, 3.

Gibbons, Christopher, 15,38, 42
Gibbons, Rev. Edward, 36, 38.
Gibbons, Ellis, 37.
Gibbons, Orlando, 36-39.
Gibbs, Miss Grace, 242.
Gigout, Eugene, 159, 176.
Giles, James, 282.
Godard, B., 170.
Goodrich, Wallace, 291, 292,

296.
Goodson, 250.
Goss, Sir John, 186, 187, 216,

226, 234-236.
Graff, Johann, loi.
Gram, Hans, 246.
Grani, Aloys, 25.
Gray, 136.

Gray & Davison, 199.
Greene, Maurice, 58, 61, 62, 70,

121, 122, 125.
Grover, Hon. W., 257.
Grunicke, 294.
Guilmant, A., 158, 159, 165, 170,

175. 177. 178, 182, 204, 222,

275, 2S6, 287, 291, 294, 295,

314.315-
Gyles, Nathaniel, 32.
Gyrowetz, no.

Hale, Philip, 150, 296.
Hall, Walter E., 281, 294.
Handel, Georg Friedrich, 61,

62, 75' 77. 81,88-97, 123. 125,

130, 172, 173, 197, 201, 244.
Harris, Renatus, 43, 52, 300, 301.
Harris, Thomas, 43, 300.
Hassler, Leo, 24.
Haupt, Karl August, 148-151,

266, 271, 273, 275, 276, 286,

287, 289.
Hauptmann, 226, 251, 269.
Haus, Henry de, 282.
Hawkins, Sir John, 70.
Haydn, Joseph, 19, no, 130.
Hayter, A. W., 250.

342

INDEX

Hayter, George F., 250.

Heitmann, Johann J., 82.

He ring, 140.

Herman, Wex, 279.

Herzog, Johann Georg, 140, 151,

152.
Hesse, Adolph Friedrich, 147,

148.
Hewitt, Miss (Ostinelli), 249.
Hildebrand, 87.
Hill & Son, 187, 207, 305.
Hingston, John, 42.
Hodges, Edward, 246, 247.
Holland, 247.

Hook & Hastings, 243, 260.
Hope-Jones, 305, 307, 309.
Hopkins, E. J., 189-192, 211,

217, 222, 238.
Hopkins, John, 189.
Hopkins, Thomas, 189.
Houghwart, Charles, 281.
Howland, C. A., 295.
Humfrey, Pelham, 47, 50.
Hummel, 107.

Inglott, WilHam, 36.
Isham, John, 58.

Jackson, Dr. G. F., 246, 249
Jacob, Benjamin, 132, 133.
Jordan, Abraham, 301, 302.

Kauffmann, George, loi.
Kerl, Johann Kaspar, 16, 17.
King, Charles, 61.
Kirchoff, Gottfried, loi.
Kittel, Joh. Christian, 105, 106,

III.
Kleber, Henry, 279.
Klein, Bernhard, 148.
Knake, 279.

Knecht, Justin Henry, 108.
Knoetchel, 245.
Krebs, Joh. Tobias, 104.
Krebs, Ludwig, 104.
Kuhnau, Johann, 65, lOl.

Lablache, L., 194.

Lang, B. J., 252, 253, 255, 256, 295.

Lange, Samuel de, 158.
Lavves, Henry, 42.
Lefebure-Wely, 160, 161, 162,

178.
Lemare, Edwin H., 231.
Lemmens, N. J., 159, 166, 167,

172, 183, 206.
Leporin, 64.
Lieding, George D., 22.
Liszt, F., 222.
Locke, Matthew, 47, 49.
Locke, Warren A., 296.
Loosemore, H., 43.
Loosemore, J., 301.
Loret, 159.

Loud, J. Hermann, 293, 294.
Lowe, Edward, 46.
Lully, 47, 113.
Lux, F., 222.
Luzzaschi, L., 26.

MacCaffrey, 279.

MacDougall, H. C, 285, 286,

296.
Macfarren, Sir George, 231.
Macfarren, Walter, 231.
MacLean, Doctor, 300.
Mailly, Alphonse, J. E., 183,

206.
Mallet, 245.

Marchand, Louis, 80, 81, 159.
Marmontel, 182.
Marpurg, 18, 107.
Martin, Sir George, 229-231, 238.
Mason, Dr. Lowell, 261, 262.
Massenet, 177, 182.
Mattheson, Johann, 64, 65, 88,

89, 90.
Maxson, Frederick, 290, 291.
Mellor, C. C, 281, 282.
Mellor, John, 281.
Mendelssohn, 145-147, 151, 152,

155, 188, 192, 194, 202, 203,

206, 236, 237, 260.
Merkel, Gustav, 140, 152, 153,

165, 222.
Merklin, 173.

Merulo, Claudio, 24, 25, 114.
Meyerbeer, no.

Il^DEX

343

Middelschulte, Wilhelm, 289,

290, 294.
Milton, John, 41.
Moitessier, 304.
Moran, 248.
Morgan, George W., 150, 256,

259, 260, 272.
Morgan, J. P., 275.
Morley, John, 33.
Morse, Charles H., 284, 285,

296.
Moscheles, I., 136, 226, 251, 269.
Mosel, 107.

Mozart, 19, 129, 223, 224, 236.
Mueller, F. F., 251.
Muffat, August G., 113.
Muffat, George, 113.
Miiller, August E., 109.
Mulliner, Thomas, 30.
Mundy, John, 32, 39.

Nares, Doctor, 125.
Naumann, 140.
Neidermeyer, 176, 182.
Nichol, Horace W., 277, 278.
Nivert, 162.
Norris, Homer A., 296.

Oakeley, Sir Herbert, 112, 210,

230, 238.
Okeghem, Jean, 7.
O'Shea, John, 296.
Otten, Joseph, 279.
Otto, Julius, 153.
Ouseley, Sir Frederick, 38, 46,

194-198, 216, 226, 228.

Pachelbel, Johann, 100, 103, 1 17-

119.
Paine, John Knowles, 150, 256,

267, 268, 274.
Parchebel, C. T., 241.
Parker, Horatio W., 154, 296.
Parker, J. C. D., 251, 252.
Parratt, Henry, 218.
Parratt, Thomas, 218.
Parratt, Sir Walter, 216, 218-

224.
Peace, Albert Lister, 224.

Pearce, Stephen Austen, 266.

Pepin, 2.

Pepusch, Doctor, 67, 68, 121,

123, 124, 125.
Pepys, Samuel, 47, 50, 124.
Petter, 104.
Pfefferkorn, Otto, 295.
Phillips, Arthur, 46.
Pierne, H. C. G., 181.
Piggott, Francis, 57.
Plaidy, 226, 251, 269.
Prastorius, Bartholomseus, 11
Prastorius, Hieronymus, 10.
Praetorius, Johann, 11.
Prastorius, Michael, 11, 25.
Preindl, Joseph, 109, iii.
Prout, E., 222.
Purceil, Daniel, 61.
Purcell, Edward, 51, $2.
Purceil, Henry, 47-57, 60, 61,

68.
Purcell, Thomas, 50, 51.

Radcliffe, W., 295.

Randall, Doctor, 136.

Redford, John, 28.

Reinken, John Adam, 9, 22, 82.

Reissiger, 153.

Reitz, 226, 251, 269.

Rheinberger, J. G., 153-158, 223,

291.
Richter, E. F., 140, 226, 251,

269, 288.
Rimbault, 46, 191.
Rinck, 106, 111-113.
Riseley, George, 228, 229.
Roberts, Dr. Varley, 294.
Rockstro, 19.
Rogers, Benjamin, 46.
Rohback, Henry, 282.
Roosevelt, 309.
Rue, De La, 7.

Safford, Charles A., 296.
Saint-Saens, C, 159, 167-169,

176.
Salome, Th. C, 159, 170.
Savii, Gianpolo, 25.
Scarlatti, Alessandro, 66, 107.

344

INDEX

Scarlatti, Domenico, 66.
Schaab, 140.
.Scheibe, Johann, 86, 87.
Scheidt, Samuel, 9, 26, 115.
Schein, Johann H., il.
Schellenburg, 140.
Schenuit, John, 279.
Schiedemann, Heinrich, 9.
Schieferdecker, J. C, 65.
Schmidt, Bernhard, 40, 43, 44,

, 52. 301-

Schmidt, Georges, 162.
Schneider, Friedrich Joh., 149.
Schneider, Joh. Gottlob, 139-

145' 149' 152, 210, 269.
Schubart, 104.
Schulhoff, 168.
Schulz, Jerom, 10.
Schumann, 153.
Schumann, Gustav, 271.
Schurig, 140.
Schiitz, Heinrich, 11, 12, 13,

25-

Schutz, 140.

Scott, Chas. P., 296.

Sejan, Louis, 160, 161, 162.

Sejan, N., 139, 160, 162.

Selby, Edward, 244, 245.

Seyfried, 107.

Smart, Sir George, 189, 192.

Smart, Henry, 188, 189, 199,

220-222.
Smith, Gerrit, 286.
Smith, J. C, 125.
Snetzler, Johann, 302.
Spalding, Walter R., 296.
Spark, Doctor, 164, 198, 199.
Spitta, Phillip, 88, 114, 115, 117.
Spohr, L., 134, 236.
Stainer, Sir John, 195, 215, 222,

226-228, 230, 231, 238.
Stamaty, C, 167.
Stanfield, W., 296.
Stanley, John, 124, 125.
Steggall, Doctor, 231.
Sterling, W. S., 295.
Stewart, Dr. H. J., 227, 292.
Stockwell, 248, 249.
Swan, Allen W., 296.

Taft, Frank, 294.

Tallys, Thomas, 31, 32, 37.

Taverner, John, 28, 29.

Taylor, Rayner, 246, 248, 249.

Taylor, S. P., 249.

Telemann, George Ph., 102, 103,

107.
Thayer, Eugene W., 150, 255,

256, 266, 267, 286.
Thiele, Louis, 149, 151.
Thomas, Ambroise, 169.
Thomas, Theodore, 270, 273,

290.
Thunder, H. G., 295.
Tilborghs, Joseph, 183.
Timm, Henry Christian, 248.
Titelouze, Jean, 158.
Tombelle, F. de la, 182.
Tbpfer, 140.

Tourjee, Dr. E., 252, 257.
Travers, 124.
Truette, E. E., 163, 170, 203,

287, 288, 296.
Tucker, H. G., 253.
Tuckerman, Dr. S. P., 256, 258-

260.
Tudway, 39, 56.
Turle, James, 190.
Turner, William, 47.
Tye, Christopher, 28, 29.

Upham, G. Baxter, 254.

Valbeke, L. Van, 5.

Valentini, 16.

Van der Broeck, 166.

Van Eyken, 140.

Van Os, Albert, 5.

Verscbneider, 303.

Vetter, Nikolaus, loi.

Vilback, A. C. R. de, 167.

Vitalian, 2.

Vogler, Joh. Caspar, 104, no.

Vogt, A. S., 295.

Von Hagen, 245.

Walcker, E. F. & Son, 254-256.
Walther, Johann, loi, 103.
Warren, George W., 267.

INDEX

345

Warren, Richard H., 267.
Warren, Samuel P., 271, 286,

296.
Webb, George James, 253, 254.
Weigl, 107.
Weldon, 58, 60, 61.
Wesley, Charles, 131, 234.
Wesley, Samuel, 128, 130, 133,

234-
Wesley, S. S, 133-135, 198, 235,

237, 306.
Whelpley, B. L., 296.
Whiting, George E., 251, 271-

273' 294-
Whitney, S. B., 274, 296.
Wider, CM., 159, 165, 173, 177,

178, 291.
Wiegand, Auguste, 205, 206.
Wieprecht, 266, 271.

Wild, Harrison M., 288, 294.
Wilkins, Hervi D., 276.
Willaert, Adrian, 23-25.
Willcox, John H., 255, 256, 260-

263.
Willis, 224, 304, 309.
Wilson, Doctor, 42.
WoUe, Fred. J., 295.
Wood, Anthony, 42.
Woodman, R. II., 294.
Wry, H. E., 296.
Wiilcken, Anna M., 83.
Wulstan, 3.

Young, 200.

Zachau, 63.

Zeuner, Carl, 249, 258.

Ziegler, Joh. Gotthilf, 105.

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